LIBRARY 

OF  THE 

UNIVERSITY  OF  CALIFORNIA. 

Deceived    JAN     6    1893        •  *&9 
Accessions  No.  M<9^  /  .  Class  No. 


THE 

"QUINCY  METHODS" 

ILLUSTRATED. 


PEN  PHOTOGRAPHS  FROM  THE 
QUINCY  SCHOOLS. 

BY 

LELIA  E.  PATRIDGE. 


"  The  methods  of  the  Quincy  Schools  are  the  methods  which  have  been 
used  and  are  being-  adopted  wherever  they  are  known  and  understood,  and 
wherever  the  teachers  h^ove  the  skill  and  the  permission  to  employ  them." 

GEORGE  A.  WALTON, 
Agent  Mass.  Board  of  Education. 


NEW  YORK  AND  CHICAGO  : 

E.  L  KELLOGG  &  CO. 

1891. 


1*1' 


COPYRIGHT,  1885, 
BT  LELIA  E.  PATRIDGE. 


PBEFACE. 


THIS  volume  has  been  prepared  to  help  the  earnest  teachers  of 
children.  No  better  plan  than  the  presentation  of  actual  lessons 
which  show  the  application  of  the  principles  of  education  could  be 
devised.  It  is  an  admitted  fact  that  the  teaching  in  Quincy  reached 
a  point  of  general  excellence  hitherto  unattained.  These  lessons 
are  with  few  exceptions  pen  photographs  of  ordinary  school-room 
work  ;  many  were  sketched  while  the  teacher  was  unconscious 
that  anything  more  than  the  usual  notes  of  a  visitor  were  being 
taken.  They  are  not  presented  as  models  to  be  copied,  but  rather  as 
types  to  be  studied.  The  principle  guiding  the  selection  was  briefly 
this — the  best  whenever  and  wherever  found.  The  book  is  not  a 
manual  of  the  Quincy  course  of  study  ;  the  material  having  been 
gathered,  the  author  arranged  it  in  accordance  with  the  latest  and 
best  educational  thought.  To  have  reported  merely  the  verbal  col- 
loquy between  teacher  and  pupils  would  have  been  of  little  ser- 
vice ;  hence  the  descriptions  which  accompany  and  form  part  of 
every  lesson.  It  has  been  the  aim  of  the  author  to  make  the  scene 
live  again  in  the  mind  of  the  reader. 

In  the  preparation  of  this  volume  aid  has  been  obtained  from 
many  sources.  No  words  can  express  the  value  of  the  inspiration 
and  instruction  derived  from  many  years'  study  of  Col.  Parker's 
matchless  work.  He  has  ever  seemed  the  greatest  of  living  teachers. 
The  superintendent  and  teachers  of  Quincy*  have  rendered  the 
author  indispensable  aid,  and  to  them  grateful  thanks  are  rendered. 
The  advice  and  suggestions  of  Prof.  Thomas  W.  Balliet  and  Miss 
Mary  A.  Spear,  of  the  Cook  County  Normal  School — the  latter  for- 
merly of  Quincy — have  been  invaluable. 

The  writer  has  had  before  her  continually  that  vast  number  of 
teachers  who  believe  that  education  is  the  realization  of  the  highest 
possibilities  of  the  child,  and  who  are  working  unceasingly  to  make 
it  such  ;  to  them  she  dedicates  this  book. 

*  Only  five  of  those  whose  lessons  are  reported  in  this  book  are  left  in  Quincy. 


"  Go,  to^ay,  into  the  Quincy  schools,  and  in  a  few  moments  two  or  three 
young  children,  standing  about  an  earth  board,  and  handling  a  little  heap  of 
moistened  clay,  will  shape  out  for  you  a  continent,  with  its  mountains,  rivers, 
depressions,  and  coast  indentations,  designating  upon  it  the  principal  cities, 

and  giving  a  general  idea  of  its  geographical  peculiarities The  children 

then  (under  the  old  system)  could  glibly  tell  what  a  peninsula  was,  but  they  did 
not  know  one  when  they  lived  on  it. 

"  In  the  upper  grammar  as  well  as  in  the  lowest  primary  there  was  an  entire 
change  of  spirit.  It  was  certainly  most  pleasant  to  go  into  the  rooms  and  feel 
the  atmosphere  of  cheerfulness,  activity,  and  interest  which  pervaded  them."— 
Charles  Francis  Adams,  Jr.,  in  "  The  New  Departure." 

"The  schools  of  this  town  (Quincy)  have  suddenly  become  celebrated  to  a 
degree  unprecedented  in  the  history  of  any  town  of  its  size  in  America.  They 
have  been  so  numerously  visited  by  school  superintendents,  teachers,  and 
newspaper  reporters,  even  from  distant  cities  and  States,  that  restrictions  were 
required  to  prevent  the  overcrowding  of  certain  rooms,  or  interference  with 
school-work.  A  surplus  of  volunteers  from  abroad  have  tendered  their  services 
gratuitously  as  assistant  teachers,  that  they  might  thus  thoroughly  learn  the 
Quincy  methods. 

"The  children  write  English  earlier,  Avrite  more,  and  write  it  better  through- 
out all  the  schools  of  the  town  than  is  the  case  in  all  the  schools  of  any  other 

town  within  my  knowledge  in  our  country The  training  in  expression  is 

remarkable." — Hon.  B.  O.  Northrop,  Secretary  of  the  Connecticut  Board  of 
E'lin-ntion,  in  "Education." 

"The  work  itself  was  a  prodigious  success,  and  the  reconstructed  schools  of 
Quincy  were  visited  by  thousands  of  eager  observers.  Superior  teachers  came 
txi  .study  and  work  in  them,  often  without  compensation,  and  went  forth  to  bear 
the  new  flame  to  other  communities.  The  result  has  been  that  elementary  in- 
struction has  received  a  mighty  impulse  toward  the  methods  and  freedom  of 
nature  from  the  Quincy  experiment." — Rev.  A.  D.  Mayo.  See  article  in  Jour- 
nal of  Education,  "  The  New  Education  and  Colonel  Parker." 

"  An  examination  of  the  schools  of  Quincv  in  connection  with  the  other 
schools  of  Norfolk  County,  which  was  made  in  1879,  after  the  improvements 
had  been  some  time  inaugurated,  showed  that  the  schools  of  Quincy  ranked 
from  twelve  to  twenty -five  per  cent  above  the  average  of  the  towns  of  Norfolk 
County.  The  appreciation  of  the  Quincy  work  is  proved  by  the  number  of 
teacher*  drawn  from  Quincy  to  take  more  lucrative  positions  elsewhere ;  and 
especially  by  the  number  of  grammar  school  principals  taken  to  fill  the  office 
of  school  superintendent,  an  office  which  each  principal  thus  taken  is  filling 

With  -I1CCC88. 

••  While  th--  rritirs  are  condemning,  (the  Quincy  methods)  they  are  found  to 
be  diligent  in  applying  them;  and  when  well  incorporated  into  their  own  work, 
the  same  persons.  uneOMOiOttlljr  to  themselves  perhaps,  will  be  bold  to  claim 

the  methods  aa  of  their  own  originating The  methods  of  the   Quincy 

schools  are  the  methods  which  have  been  uaed  and  are  being  adopted  wherever 


September,  October,  1888). 


CONTENTS. 


PAGE 

PREFACE, iii 

INTRODUCTION, xi 


SECTION  I. 

THE  FIRST  TEAKS  WORK  BEGUN. 

CHAPTER 

I.— PRELIMINARY :  THE  FIRST  WORK  OP  THE  TEACHER,      1 

Development  of  Thought  and  Expression.— The  Unity  of 
School-work.  — Grouping.— The  Training  of  Attention.  —  Busy- 
Work.— Physical  Education.— Technical  Skill.— Moral  Training. 

II. — THE  FIRST  DAY  IN  SCHOOL  [!N  DETAIL],    ...    11 

Contrast  between  the  Old  Ways  and  the  New.— The  Gathering 
of  the  Children.— Taking  the  Names.— The  Opening  Exercise.— 
A  Language  Lesson.— Going  Out  to  Recess  and  Returning.— 
Busy-Work.— Assigning  Seats.— A  March.— Busy-Work.— The 
First  Lesson;  Conversation. — Dismissing. — Opening  Exercises 
of  the  Afternoon.— Writing.— Drawing.— Busy- Work.— The  First 
Picture  Lesson. — Singing. — A  General  Exercise  in  Number. — An 
Object  Lesson.—  A  Conversation.— Dismissal.— Notes  and  Com- 
ments.—Programs. 

SECTION  II. 

THE  FIRST  YEARS  WORK  CONTINUED.     A  SERIES  OF 
OBJECT  LESSONS. 

I.— A  BODY  LESSON:  PREPARATORY  TO  PHYSIOLOGY. 

A  G-ENERAL  EXERCISE, 49 

II. — A  TEST  LESSON  IN  NUMBER,  .         54 


vi  CONTENTS. 

CHAPTER  PAGE 

III.— AN  IMPROMPTU  LESSON  ON  THE  HORSE:  THE  BE- 
GINNING OF  ZOOLOGY.    A  GENERAL  EXERCISE,    60 
IV. — PREPARATORY    EXERCISES;   AND    A   LESSON   ON 

COLOR, 64 

V._Xwo  LESSONS  IN  DIRECTION.  GENERAL  EXERCISES,    73 

VI.— A  FIRST  LESSON  IN  DIMENSION, 81 

VII.— A  PLANT  LESSON:  INTRODUCTORY  TO  BOTANY.  A 

GENERAL  EXERCISE, 87 

VIII.— A   LESSON    UPON   HILLS  :    ELEMENTARY   GEOG- 
RAPHY,   91 

IX.— A  LESSON  UPON  GRANITE:   THE  BEGINNING  OF 

MINERALOGY.    A  GENERAL  EXERCISE,     ...    97 

X.— FIRST  LESSONS  IN  FORM, 103 

XI. — A  LESSON  UPON  SNOW.    A  GENERAL  EXERCISE,  112 

SECTION  III. 

THE  FIRST  YEARS  WORK  CONTINUED. 

I.— PRELIMINARY:  THE  TEACHING  OF  READING,  ^  .    .119 

II.— READING:  TEACHING  THE  FIRST  WORD,  .    .    .    .121 

in.— READING:  TEACHING  THE  FIRST  SENTENCE,     .    .  128 

IV.— READING  AND  LANGUAGE  COMBINED, 135 

V.— READING:  COMBINATION  LESSON, 144 

VI. — READING:  AN  ADVANCED  LESSON  IN  SCRIPT,  .    .  152 
VII.— READING:  TRANSITION   FROM  SCRIPT   TO  PRINT,  162 

Vni.— READING:  EXERCISES  IN  PHONICS, 168 

IX.—  IMITATIVE  EXERCISES, 176 

SECTION  IV. 

THE  FIRST  YEARS  WORK  CONTINUED. 

I.— PRELIMINARY:  THE  TEACHING  OF  LANGUAGE,     .  187 
II.    LANGUAGE  :  THINKING  EXERCISES, 190 


CONTENTS.  Vll 

CHAPTER  PAGK 

III.— LANGUAGE:  CONVERSATION  LESSONS, 197 

IV.— LANGUAGE:  AN  ACTION  LESSON.      A  GENERAL 

EXERCISE, 208 

V. — LANGUAGE:  LESSONS  UPON  A  PICTURE,  ....  214 

The  First  Lesson.— Plan  of  Six  Succeeding   Lessons.— The 
Eighth  Lesson  in  Full. 

VI.— LANGUAGE:   STORY  LESSONS.     GENERAL   EXER- 
CISES,      225 

SECTION  V. 

THE  FIRST  TEARS  WORK  CONCLUDED. 
I.— PRELIMINARY, 247 

The  Teaching  of  Number;  Technical  Writing;  Spelling;  Draw- 
ing; and  Modelling  in  Clay. 

II.— NUMBER  WORK.    Two  LESSONS;  WITH  ILLUSTRA- 
TIONS DRAWN  BY  PUPILS, 254 

III.— A  LESSON  IN  TECHNICAL  WRITING.    A  GENERAL 

EXERCISE, 272 

IV.— Two  SPELLING  LESSONS:  THE  WORD;  AND  THE 

SENTENCE, 280 

V.— A  DRAWING  LESSON.    A  GENERAL  EXERCISE,     .  291 

VI.— A  LESSON  IN  MODELLING  IN  CLAY.    A  GENERAL 

EXERCISE, 298 

VII.— A  SINGING  LESSON.    A  GENERAL  EXERCISE,  .    .  309 

Preliminary:  The  Teaching  of  Singing. 

SECTION  VI. 

THE  SECOND  TEARS  WORK  COMPLETE. 
I.— PRELIMINARY, 323 

The  Teaching  of  Zoology,  Botany,  and  Geography.— Reading. 
— Language. — Number. — Spelling. 

II.— A  FIVE  MINUTE  LESSON  UPON  THE  Cow:  ZOOLOGY,  330 


vni  CONTENTS. 

CHAPTER  PAGE 

III. — A  SERIES  OF  PLANT  LESSONS:  BOTANY,      .    .    .  336 

Slaking  Plant  Diaries. — A  Lesson  on  the  Bean-plant. — Another 
Lesson,  the  Leaf. 

IV.— SEVERAL  LESSONS  IN  GEOGRAPHY, 355 

A  First  Lesson  in  Civil  Geography.— Three  Lessons  in  Struc- 
tural Geography. 

V. — READING:  A  LESSON  INVOLVING  A  CASE  OF  DIS- 
CIPLINE.   AN  EXERCISE  IN  IMITATION,      .    .    .  371 

The  Lesson  in  Reading.— The  Case  of  Discipline.—"  Stories" 
Written  by  the  Children.— An  Imitative  Exercise. 

VI.— LANGUAGE  WORK, 397 

(1)  A  Lesson  with  a  Moral.— (2)  Letter-writing.— (3)  "  Talking 
with  the  Pencil."— (4)  Object  Lessons.— (5)  Juvenile  Weather 
Reports. — (6)  A  Child's  Story.  Specimen  of  Drawing  by  pupil. 

VII.— Two  LESSONS  IN  NUMBER, 428 

An  Early  Lesson  with  Figures.— Picture  Number  Work.— One 
More  Lesson  with  Figures. 

VTEI.— PENMANSHIP:  A  LESSON  IN  TRACING,     ....  449 

Preliminary:  The  Purpose  of  Tracing.— Samples  of  Penman- 
ship and  specimens  of  blackboard  sketching. 

IX.— A  LESSON  IN  SPELLING, 462 

X.— DRAWING:  A  LESSON  IN  FORM,  ILLUSTRATED  BY 

DESIGNS  AND  DRAWINGS  MADE  BY  THE  PUPILS,  4G8 

Preliminary:  The  Motive  and  Plan  of  the  Work. 

XL — AN  EXERCISE  IN  CLAY  MODELLING,  WITH  COPIES 

OF  THE  CHILDREN'S  WORK, 477 

Preliminary:  The  Use  of  Modelling  in  Clay. 

SECTION  VII. 

THE  THIRD  YEAR'S  WORK  COMPLETE. 
I. — PRELIMINARY, 485 

The  Beginning  of  Arithmetic.— Supplementary  Geography. 

II.— ELEMENTARY  ZOOLOGY:  A  STUDY  OF  THE  DOG,  .  488 

Preliminary.— Three  Descriptions  of  a  Dog,  written  by  the 
Pupils. 

m.— A  LESSON  IN  BOTANY:  THE  BLACKBERRY,  .    .    .501 

rninary.— Three   Descriptions   of  the  Blackberry-plant, 
written  by  th«  Pupil*. 

IV.— SUPPLEMENTARY  GEOGRAPHY:  ROBINSON  CRUSOE,  519 
V.— AN  EXERCISE  IN  SIGHT  READING:  A  RECITATION,  534 

Preliminary.— The  Exercise  in  Heading.— The  Recitation. 


CONTENTS.  IX 

/ 

CHAPTER  PAGE 

VI.  —LANGUAGE  LESSONS  AND  PAPERS, 560 

Preliminary.— (1)  A  Thinking  Game.— (2)  A  Conversation  Les- 
son.—(3)  Children's  Talk  with  the  Pencil:— "  What  I  Did  at 
Recess";  "What  I  Did  this  Noon";  "The  Pig's  Party."— (4)  An 
Action  Lesson.— (5)  Three  Picture  "Stories,"  written  by  the 
Pupils.— (6)  "Little  Red  Riding  Hood.  "—(7)  A  Letter.— (8)  Three 
Descriptions  of  the  Loon.— Preliminary  to  Fourth  Year's  Work. 
—Papers  written  by  Pupils.— (1)  Description  of  a  Duck.— (2)  De- 
scription of  the  Horse.— (3)  Description  of  "  The  Chair  and  The 
Lady."— (4)  "The  Battle."— (5)  "The  Bear  and  the  Man."— (6) 
u  What  I  am  Thinking  About." 

VII.— A  LESSON  IN  ARITHMETIC,  AND  A  CASE  OF  DIS- 
CIPLINE,      593 

VIII. — SOME  SPELLING  AND  ITS  EXAMINATION,  ....  609 

Preliminary.— Giving  out  the  Lesson.— Studying  the  Lesson.— 
Spelling  the  Lesson.— The  Examination.— The  Next  Lesson.— 
Another  Lesson  in  Spelling. 

SECTION  VIII. 

THE  FOURTH  TEARS  WORK  COMPLETE. 
I. — PRELIMINARY, 625 

The  Teaching  of  Arithmetic.— The  Course  in  Geography. 

II. — ARITHMETIC:  PRACTICE  WORK, 631 

III.— GEOGRAPHY    AND    HISTORY:     A    COMBINATION 

LESSON, 641 

IV.— CONCLUSION,  .  657 


The  "  Quincy  Methods"  Illustrated, 

Should  always  be  read  and  studied  in  connection 
with  COL.  F.  W.  PARKER'S 

"  Talks  on  Teaching." 

The  former  contains  the  actual  practice  in  the 
School-room  of  which  the  latter  is  the  theory. 
Twenty-one  thousand  copies  of  "  Talks  on 
Teaching "  have  been  placed  in  the  hands  of 
American  teachers.  hed 

Price,  $1.O9,  postpaid. 

Address, 

E.  L.  KELLOGG  &•  CO., 

EDUCATIONAL   PUBLISHERS, 

25  Clinton  Place,  N.  Y. 


THE     -JP! 

UNIVERSITY 


rNTKODTJCTTOK'. 


rpHE  two  words  "  Quincy  Methods"  have  stirred  up  a  most  re- 
-L  markable  discussion  among  American  teachers.  Quincy,  a 
suburb  of  Boston,  only  known  before  as  the  home  of  the  Adamses,  the 
Quincys,  and  for  the  production  of  a  superior  kind  of  granite,  rose 
to  fame  solely  through  its  schools.  The  School  Committee  of  Quincy, 
of  which  Charles  Francis  Adams,  Jr.,  was  a  member,  it  appears,  had 
arrived  at  the  conclusion  that  they  needed  as  superintendent  some 
one  who  comprehended  the  problem  of  rightly  ministering  to  the 
mental  and  moral  growth  of  childhood,  and  appointed  to  that  post 
Col.  Francis  W.  Parker,  who  had  just  returned  from  a  two-years 
course  in  pedagogics  and  philosophy  in  Germany. 

Under  the  direction  of  Col.  Parker  the  schools  underwent  a  re- 
markable transformation.  In  the  words  of  Hon.  J.  W.  Dickinson, 
Secretary  of  the  Massachusetts  State  Board  of  Education,  "In  less 
than  a  year  after  they  were  placed  under  the  charge  of  Col.  F.  W. 
Parker  the  teachers  had  become  indoctrinated  with  his  ideas  and 
methods,  and  in  consequence  the  schools  were  wonderfully  trans- 
formed, The  primary  schools  deserve  especial  mention.  I  made  a 
careful  comparison  of  their  methods,  and  the  results  obtained  with 
those  of  the  best  primary-schools  I  knew  in  town  or  city,  and  was 
surprised  at  the  great  superiority  of  the  Quincy  work." 

The  reconstruction  of  the  Quincy  schools  caused  them  to  be  visited 
by  thousands  of  earnest  teachers  ;  leading  journals  sent  correspond- 
ents to  describe  the  work  at  length.  In  1879  a  series  of  "  Quincy 
Letters,"  from  the  pen  of  Mrs.  S.  C.  F.  Hallowell,  appeared  in  the 
Philadelphia  Ledger,  and  attracted  wide-spread  attention.  Especially 
upon  me  these  graphic  sketches  produced  a  profound  impression.  A 
graduate  of  a  Massachusetts  Normal  School;  a  teacher  of  teachers 
for  years,  first  in  the  Philadelphia  Normal  School,  and  later  in  the 
Teachers' Institutes  of  Pennsylvania,  1  had  been  forced  to  the  conclu- 
sion that  the  results  of  the  methods  employed  in  our  schools  were  ex.- 


xii  INTRODUCTION. 

ceedingly  barren,  to  say  the  least.  I  turned  for  light  to  the  writings  of 
that  greatest  of  modern  educators,  Froebel,  and  through  a  course  of 
Kindergarten  training  began  to  obtain  an  insight  into  the  possibilities 
and  necessities  of  child-nature.  The  address  made  by  Col.  Parker 
before  the  National  Educational  Association  at  Chautauqua  marked 
him  in  my  mind  and  that  of  many  others,  not  merely  as  the  "  com- 
ing educator,"  but  as  the  educator  who  had  come,  and  was  already 
doing  his  work  among  us.  In  the  following  September  (1880)  I  went 
to  Quincy  to  see  what  that  work  was. 

There  I  found  the  ordinary  Primary  schoolroom — the  common  ap- 
purtenances, the  usual  number  of  pupils  under  the  charge  of  a  teacher, 
but  teaching  of  a  remarkable  character.  It  was  development,  not 
acquisition  ;  growth,  instead  of  accretion.  It  was  the  gaining  of 
strength,  mental,  moral,  and  physical,  through  self-activity.  It  was 
education  by  work,  using  work  as  a  distinct  moral  agent;  not  for  its 
own  sake,  but  for  the  sake  of  the  children  doing  it.  In  fact  the 
teaching  was  the  teaching  of  the  Kindergarten.  A  few  weeks'  ob- 
servation of  the  schools  decided  me  to  study  this  new  and  attractive 
phase  of  education.  After  filling  my  Institute  engagements  I  be- 
came the  following  year  a  member  of  Col.  Parker's  class  in  Didactics 
at.  Martha's  Vineyard.  The  insight  into  the  theory  thus  gained, 
made  me  still  more  desirous  to  watch  the  practice,  and  at  the  open- 
ing of  the  school  year  of  1881  I  was  again  in  Quincy,  and  through 
the  kindness  of  Superintendent  Brown  (Col.  Parker  having  been  ap- 
pointed a  supervisor  of  the  Boston  schools),  I  was  permitted  to 
attend  the  sessions  of  the  Training  Class,  also  the  weekly  meetings 
of  the  teachers.  These  advantages,  added  to  assiduous  visiting  of 
the  schools  themselves,  gave  me  materials  for  copious  notes,  and  at 
the  end  of  my  stay  I  was  rich  in  sketches  of  the  Quincy  work. 

Returning  to  my  Institute  work,  I  was  called  upon  to  tell  what  I 
had  seen  and  heard  in  Quincy.  I  found  that  there  were  multitudes 
of  teachers  who  were  disappointed  with  the  results  of  their  hard  but 
unsatisfactory  labors,  and  were  anxious  to  know  of  better  ways. 

To  them  I  presented  the  distinguishing  features  of  the  Quincy 
work: 


l    Th«  Joyous  life  of  the  schools  and  the  comradeship  of  teacher  and  pupils. 

2.  By  grouping  their  pupils  (in  the  lower  grades)  they  obtained  many  of  the 
benefits  of  individual  teaching. 

8.  The  skillful  use  of  a  great  amount  and  variety  of  "  Busy-Work.1' 

4.  Lessons  in  subjects  not  usually  taught— Drawing,  Modeling,  Form,  Color, 
Natural  History,  etc. 


INTRODUCTION.  Xlll 

6.  The  constant  use  of  Drawing  as  a  means  of  expression. 

6.  Use  of  text-books  as  repositories  of  knowledge. 

7.  Amount  and  variety  of  Supplementary  Reading. 

8.  Substitution  of  the  expression  of  original  thought  on  the  part  of  the  pupils 
for  the  old-fashioned  memoriter  recitation. 

9.  Carefully  varied  programme,  whose  order  was  known  only  to  the  teacher. 

10.  The  atmosphere  of  happy  work  which  encompassed  teachers  and  pupils. 

11.  Disorder  not  worrying  the  teacher  and  wasting  her  time. 

12.  The  confidence,  courtesy,  and  respect  characterizing  the  attitude  not  only 
of  pupils  to  teacher,  but  teacher  to  pupils. 

13.  The  absence  of  scolding,  snubbing,  or  spying. 

14.  The  dignity,  self-possession,  and  lack  of  self-consciousness  of  pupils. 

15.  The  making  of  the  child  the  objective  point,  and  not  Courses  of  Study, 
examinations,  or  promotions. 

16.  The  great  economy,  naturalness,  and  practicability  of  the  devices  em- 
ployed. 

17.  The  marked  attention  paid  to  the  so-called  dull  pupils. 

18.  The  evident  growth  of  moral  power. 

19.  The  remarkable  skill  of  the  teachers  evidencing  their  comprehension  of 
underlying  principles. 

20.  The  wonderful  originality  and  individuality  of  the  teachers— none  being 
imitators;  the  devices  used  varying  from  day  to  day. 

21.  The  high  ideal  set  before  the  teachers  by  the  Superintendent,  and  their 
hearty  co-operation  with  him  in  striving  to  attain  it. 

22.  The  absence  of  machinery,  and  the  absolute  freedom  from  any  fixed  or 
prescribed  mode  of  work,  each  teacher  being  encouraged  to  invent  and  try  any 
device  not  violating  fundamental  laws. 

23.  Examinations  aimed  to  test  the  teacher's  power  to  teach. 

24.  Examinations  such  as  to  test  the  children's  power  to  do,  not  their  power 
to  memorize. 

It  was  harmonious  education; — the  moral  and  physical  natures 
were  recognized  and  trained  along  with  the  mental.  There  was 
that  alternation  of  action  which  results  in  pleasing  and  useful 
variety  of  work  and  play.  There,  too,  was  the  unceasing  training 
in  good  habits,  the  unremitting  exercise  of  the  better  nature  and  the 
noblest  impulses.  It  was,  in  brief,  child-gardening.  Set  to  tend  the 
human  plants  placed  in  the  sunshine  of  their  school-rooms,  these 
teachers  sought  to  learn  the  divine  laws  which  governed  their 
development,  and  watched  each  rniud  to  see  what  helped  or  hindered 
growth.  Hence  the  dull  children,  like  backward  plants,  received 
most  care  and  pains.  It  is  true  that  the  pupils  were  taught  to  read 
and  write,  and  ultimately  to  cipher;  that  is,  the  form  of  the  work 
done  belonged  to  the  old  education,  but  the  ideal  being  no  longer 
the  gaining  of  skill  and  knowledge,  but  the  higher  one  of  growth, 
the  spirit  in  which  it  was  done  was  of  the  new.  The  old  order 
seemed  literally  to  have  passed  away,  and  a  new  atmosphere  of 


XIV  INTRODUCTION. 

eathusiastic  but  normal  activity  filled  these  schools ;  a  new  attrac- 
tion held  these  happy  pupils,  self-poised,  self-controlled,  all  in  their 
places  without  jar  or  effort. 

The  interest  manifested  by  my  audiences  was  both  encouraging 
and  significant;  but  I  doubted  if  my  listeners  could  improve  their 
schools  from  the  outlines  I  had  given  them.  To  aid  them  practically 
I  felt  that  I  must  know  more  of  Quincy  myself.  So  I  decided  to 
return  to  Quincy  at  the  close  of  the  Institute  season  for  further 
study.  In  February,  1882,  Mr.  Amos  M.  Kellogg,  editor  of  the  New 
York  School  Journal,  proposed  the  preparation  of  a  book  which 
should  consist  of  sketches  of  actual  lessons  taken  directly  from  the 
school-rooms  of  Quincy.  Had  the  requirement  been  for  a  book  on 
the  philosophy  of  teaching  I  should  never  have  entertained  the 
proposal ;  but  I  thought  I  could  be  eyes  and  ears  for  such  as  could 
not  go  to  Quiucy  to  see  and  hear  for  themselves,  and  consented  to 
try  to  prepare  a  book.  To  accumulate  the  needed  materials  I  spent 
the  ensuing  soring  in  Quincy,  taking  reports  of  lessons,  and  the 
summer  following  I  attended  Col.  Parker's  second  course  of  lectures 
on  Didactics  at  Martha's  Vineyard. 

Listening  day  after  day,  note-book  in  hand,  to  those  wonderful 
"  Talks  on  Teaching,"  the  highest  expression  of  pedagogical  truth 
ever  uttered  in  this  country,  it  occurred  to  me  that  the  publication 
of  my  notes  of  these  lectures  (the  principles  of  the  Quincy  teaching) 
would  fitly,  precede  the  coming  book  of  practice. 

To  this  suggestion  Col.  Parker  generously  replied:  "The  notes 
are  yours — do  with  them  what  you  will  ;  but  I  must  first  revise 
before  I  can  endorse."  Though  laboring  like  a  giant  in  his  new 
field  of  work — the  principalship  of  the  Cook  County  Normal  School, 
Chicago — the  proposed  revision  became  really  a  re-writing,  and  the 
book  proved  to  be  more  his  "  Talks"  than  any  "Notes"  of  mine.  But 
he  chose  that  the  title  should  be  what  it  is.  "  Talks  on  Teaching  " 
being  finished,  I  spent  the  remainder  of  the  school  year  taking  re-1 
ports  of  lessons  in  Quincy.  During  the  summer  I  attended  Col. 
I'.ukcr's  third  and  last  course  of  lectures  upon  Didactics.  In  Sep- 
tember, 1883,  I  went  to  Normal  Park,  where  1  had  been  appointed  a 
UK  inlier  of  the  Faculty  of  the  Normal  School.  Here  I  knew  I  could 
best  arrange  the  immense  mass  of  material  gathered  in  my  five  visits 
to  Quincy,  because  I  should  be  surrounded  with  the  Quincy  atmos- 
phere, and  could  watch  the  Quincy  work  in  its  latest  phase  of 
development. 

The  great  labor  of  selecting,   arranging,   and  writing  out   my 


INTRODUCTION.  XV 

voluminous  reports  of  lessons  resulted  in  over-work  and  ill-health; 
hence  the  delay  in  the  appearance  of  the  book.  It  was  planned  at 
first  to  include  the  teaching  of  the  whole  eight  years  in  one  volume, 
but  this  was  found  to  be  impossible,  and  the  four  primary  years 
only  are  given.  The  remaining  material,  illustrating  the  work  of 
the  grammar  grades,  may  form  another  volume,  should  health  and 
the  pressure  of  other  duties  permit. 

LELIA  E.  PATRIDGE. 
COOK  COUNTY  NORMAL  SCHOOL, 
NORMAL  PARK,  ILL. 


EXPLANATORY. 


1.  These  lessons  should  not  be  COPIED.     "Imitation  never  leads 
to  creation." — Col.  Parker.      The  teachers  of  Quincy  achieved  re- 
markable results  because  they  studied  how  mind  grows  and  invented 
their  own  "methods,"  instead  of  copying  those  of  others.     Do  not 

COPY. 

2.  The  "  Purpose  of  the  Lessons"  is  given  to  enable  inexperienced 
teachers  to  discern  the  steady  leading  toward  the  main  thought,  and 
the  skilful  introduction  of  minor  points. 

3.  Special  preparation  for  daily  lessons  by  the  teacher  is  an  indis- 
pensable element  of  success.     For  the  purpose  of  calling  attention  to 
this  important  part  of  teaching,  detailed  mention  is  made  of  the 
work  done  previous  to  each  lesson. 

4.  By  "  Preparation  of  Lessons"  by  children  too  young  to  study 
books,  is  meant  what  is  already  in  the  mind  of  the  pupils.     The 
teacher  must  know  the  pupils'  previous  knowledge  of  the  subject. 
The  teachers  must  begin  where  the  children  are,  in  order  to  take  the 
right  length  of  step  to  connect  the  known  with  the  unknown. 

5.  As  the  making  out  of  plans  of  lessons  is  a  most  difficult  thing, 
the  teacher's  statement  of  what  she  proposes  to  do  step  by  step,  is 
placed  before  every  lesson.     It  will  be  observed  that  while  the  gene- 
ral arrangement  is  always  carried  out,  unimportant  details  are  often 
changed;  because  i/tc  true  teacher  follows  7ier  pupils  while  she  leads 
them. 

6.  The  "  Notes  and  Comments"  are  generally  intended  to  lead  the 
reader  to  observe  what  might  otherwise  be  overlooked. 

7.  To  avoid  embarrassing  personalities  no  real  names  or  true  ini- 
tials are  given  in  the  book,  except  those  of  Mr.  Shattuck  and  Mr. 
Carter.     Even  the  names  of  the  diifereut  schools  are  changed.     All 
teachers  of  the  First  Grade  are  designated  either  as  Miss  B.  or  Mrs. 
(.'. ;  those  of  the  Second  Grade  as  Miss  D. ;  of  the  Third  Gnulr  aw 
Miss  E..  and  of  the  Fourth  Grade  as  Miss  F. 

8.  Let  no  teacher  who  tries  these  new  ways  and  finds  her  first 
work  unsatisfactory  be  discouraged.     All  beginnings  will  be  crude. 
If  the  tendency  of  the   t« •:.  -hint:  In-  ri-tit,  success  must  eventually 
crown  her  efforts;  for  the  teacher  who  teaches  from  the  stand-point 
of  rightly  ministering  to  child-growth  works  with  the  Creator. 


THE  "QUINCY  METHODS"  ILLUSTRATED. 


OHAPTEB  I. 


The  First  Work  of  the  Teacher. 

IN  the  old.  days  it  was  taken  for  granted  that  children 
knew  nothing  when  they  entered  the  schoolroom,  had  no 
power  of  gaining  facts  until  they  were  taught  how,  and 
that  the  first  thing  they  should  learn  was  to  read  ;  while  the 
thought  of  the  generation  of  power,  as  a  motive,  did  not 
enter  the  teacher's  mind.  The  New  Education  changes  all 
this.  Now  the  teacher  regards  her  pupils  as  bundles  of  pos- 
sibilities, and  knows  that  these  little  men  and  women  have 
already  begun  the  accumulation  of  facts.  Accordingly  she 
spends  several  weeks  after  they  first  come  under  her  charge 
in  taking  account  of  their  small  stock  in  trade  ;  and  then, 
having  ascertained  the  amount  stored  up,  begins  her  work 
of  helping  them  to  add  thereto,  following  closely  the  methods 
they  have  already  pursued  under  Nature's  teaching. 

Development  of  Thought  and  Expression. 

During  the  time  which  the  teacher  gives  to  this  preparation 
for  regular  school-  work,  there  are  two  things  in  her  beginning 
of  the  building  of  the  character  of  the  child  which  she  seeks 
constantly  to  develop—  thought  and  its  expression.  But  in 
order  to  do  this  she  must  study  the  children,  to  know 
their  minds  and  understand  their  ways;  for,  says  Colonel 
Parker,  "  To  force  expression  before  the  child  is  ready,  or  to 


2  THE  "QUINCY  METHODS"   ILLUSTRATED. 

repress  it  afterward,  are  two  of  the  greatest  sins  a  teacher 
can  commit."  Thoughts,  it  is  true  they  have  already, 
vague,  half-formed ;  nor  are  they  wanting  in  expression :  but 
it  lacks  clearness,  definiteness,  and  often,  from  want  of  good 
home-training,  proper  construction.  That  she  may  know  the 
value  of  ideas  previously  gained,  she  is  continually  giving 
them  test  lessons,  ranging  from  three  to  ten  minutes  in 
length,  upon  any  and  every  important  subject  with  which 
they  are  already  acquainted.  That  she  may  furnish  ma- 
terial for  thought  (that  is,  lead  them  to  see  facts  in  new 
relations),  and  also  in  order  to  train  the  senses  (that  they 
may  discover  facts  for  themselves),  she  has  a  great  number 
of  lessons  upon  objects  of  all  sorts;  also  upon  limita- 
tions, such  as  color,  form,  number,  dimension,  direction 
etc.  All  this  involves,  of  course,  training  in  language,  but 
the  power  of  expression  needs  a  closer  and  more  persistent 
training.  This  is  accomplished  by  means  of  language 
lessons  upon  the  body,  upon  animals,  plants,  stones,  natural 
objects,  such  as  hills,  rivers,  and  natural  phenomena  like 
rain  and  hail,  or  snow. 

The  Unity  of  School-Work. 

It  must  never  be  forgotten  that  all  this  work  is  a  unit, 
many-sided  it  is  true,  but  an  organic  whole,  not  to  be  dis- 
membered, whose  aim  is  harmonious  development.  That 
is,  a  lesson  upon  color,  for  instance,  implies  form ;  upon  num- 
ber, may  take  in  both  form  and  color;  while  dimension  may 
unite  color,  form,  and  number.  Again,  each  language  lesson 
can  bo  made  the  small  beginning  of  scientific  study  in  any 
«li nation,  while  every  lesson  should  be  a  lesson  in  language, 
a  lesson  in  attention,  and  a  lesson  in  morals.  The  great 
difficulty,  especially  with  inexperienced  or  careless  teachers, 
is  that,  while  bearing  in  mind  the  close  connection  of  all 
subjects,  they  do  not  remember  that  some  one  must  be  the 
controlling  subject,  and  that  one  kept  prominently  in  view^ 


PRELIMINARY.  3 

To  illustrate:  If  the  teacher  is  giving  a  reading  lesson, 
though  she  may  introduce,  and  wisely  too,  ideas  of  number 
or  natural  objects,  physical  exercises,  references  to  every- 
day occurrences  in  which  the  children  are  interested,  or  any 
of  the  countless  things  which  would  add  to  the  life  of  the 
lesson,  she  must  not  lose  herself  in  these,  but  teach  as  she 
had  planned,  reading,  from  the  beginning  to  the  end  of  the 
lesson. 

Grouping. 

Probably  the  greatest  evils  that  exist  to-day  in  our  public 
schools  (excepting  always  the  poor  teachers)  are  the  over- 
crowding of  our  city  schools,  especially  in  the  lower 
grades,  and  the  multiplicity  of  classes  in  the  country  dis- 
tricts. Because  of  this  the  average  teacher  finds  it  simply 
impossible  to  do  anything  like  individual  teaching.  This  is 
very  bad,  and  yet  there  are  ways  by  means  of  which  the 
skilful  teacher  will  be  able  to  watch  in  some  degree  the 
mind-growth  of  each  child  under  her  care.  Grouping  is  one 
of  the  best  of  these  devices.  This  means  the  classification  of 
the  pupils  according  to  their  manner  of  mental  work.  For 
instance,  grouping  together  the  bright,  quick  children  of  a 
class— those  who  always  answer  first,  and  putting  in  another 
group  those  whose  minds  work  more  slowly  and  heavily. 
This  accomplishes  three  things:  First,  Having  thus  the 
whole  group  of  nearly  one  calibre,  the  teacher  has  far  better 
opportunity  to  watch  the  development  of  each  pupil,  and  to 
give  special  attention  to  the  so-called  dull  children.  Second, 
The  pupils  work  together  without  that  friction  (and  friction 
always  means  loss  of  power)  which  is  inevitable  under  the 
usual  classification.  Third,  It  implies  smaller  classes,  and 
thus  an  approximation  toward  individual  teaching— a  con- 
summation devoutly  to  be  wished.  But  this  in  turn  necessi- 
tates less  time  for  each  recitation,  which  is  also  in  many 
instances  a  gain  rather  than  a  loss,  for  often  teachers  go  on 


4  THE   "  QUINCY  METHODS"   ILLUSTRATED. 

and  on  with  a  recitation,  long  after  the  attention  of  the 
pupils  has  gone  on  and  on,  far  beyond  the  sound  of  the 
teacher's  voice.  Such  things  are  worse  than  demoralizing: 
they  are  absolutely  immoral;  they  are  lessons  in  disgust 
and  deceit. 

The  Training  of  Attention. 

"The  great  object  of  all  primary  work,"  to  quote  Colonel 
*J?arker  again,  "is  training  in  the  power  of  attention;"  and 
since  the  little  child  has  but  limited  capacity  to  attend,  the 
groups  should  be  small  at  first  (numbering  from  five  to  ten 
according  to  the  teacher's  power  to  hold  the  children)  and 
the  lessons  short  (never  over  fifteen  minutes  and  seldom 
over  ten).  Indeed,  the  whole  matter  rests  with  the  teacher's 
ability  to  absorb  the  pupil  with  the  work  in  hand.  When 
she  can  no  longer  interest  her  class  in  the  subject  she  is 
trying  to  teach,  the  lesson  as  far  as  the  learner  is  concerned 
is  ended,  and  the  recitation  should  cease  also;  for  every 
time  the  child  should  attend  and  does  not,  he  has  not  only 
lost  so  much  training  in  attention,  but  he  has  had  that  much 
training  in  inattention.  The  utter  absorption  of  the  pupils 
of  the  Quincy  schools  in  their  work  is  one  of  the  many 
things  that  no  pen  photograph  can  portray,  while  the  re- 
sults, as  seen  in  the  higher  grades,  are  the  best  proofs  of 
the  skill  and  persistence  with  which  they  are  trained. 

Busy-Work. 

A  series  of  most  effective  devices  for  aiding  the  teacher  of 
crowded  school-rooms  is  termed  in  Quincy  "Busy- Work." 
This  means  anything  and  everything  the  child  can  do,  which 
he  loves  to  do,  that  is  not  out  of  place  in  the  school-room ; 
such  as  sorting  colored  bits  of  paper  of  different  lengths,  or 
leaves  of  several  kinds ;  making  shapes  of  splints,  and  de- 
signs with  kindergarten  sticks,  lentils,  bits  of  colored  paper, 


PRELIMINAR  Y.  5 

shoe-pegs,  or  toothpicks;  looking  at  pictures,  drawing  on 
slate  or  blackboard;  stringing  seeds,  beads,  beans,  or  but- 
tons ;  building  with  blocks  or  cards,  copying  words  or  draw- 
ing from  the  blackboard,  weaving,  paper-cutting,  sowing, 
peas- work,  etc.,  etc.  The  number  is  almost  endless.  Skill 
is  needed,  of  course,  in  the  use  of  this  aid  (Busy- Work)  as  it 
is  in  every  other  thing  the  teacher  does,  and  as  much  time 
and  attention  given  to  its  preparation.  Variety  is  an  ele- 
ment of  success ;  but  if  there  be  too  great  variety  the  chil- 
dren become  spoiled,  and  the  effect  desired  is  lost,  the  object 
being,  as  the  name  indicates,  twofold:  first,  to  keep  the 
children  busy ;  and,  second,  to  begin  that  training  which  (in 
the  words  of  the  man  who  made  the  "Quincy  methods" 
possible)  "Will  lead  them  to  work,  to  love  to  work,  and  to 
work  systematically."  Here  follow  some  suggestive  queries 
given  to  the  members  of  the  Quincy  Training  Class  to  set 
them  to  thinking  on  this  subject : 

Have  pupils  enough  to  do? 

Does  the  teacher  devote  as  much  thought  in  preparing  for 
the  time  the  pupils  spend  in  their  seats  as  for  the  time  of 
recitation? 

Is  the  work  carefully  chosen  with  regard  to  the  taste  of 
the  pupils? 

Is  the  work  too  difficult  or  too  easy  for  them? 

Is  the  work  given  them  so  that  they  distinctly  understand 
what  they  are  to  do? 

Do  they  perform  the  work? 

Does  the  teacher  examine  the  work  after  it  is  done? 


Physical  Education. 

The  harmonious  development  of  the  whole  being  is  the 
guiding  principle  of  the  New  Education,  and  this  implies 
not  only  physical  exercise,  but  physical  training  as  well.  It 
means  the  systematic  education  of  the  body,  not  merely  for 


6  THE   "  QUINCY  METHODS1'   ILLUSTRATED. 

the  sake  of  health,  strength,  grace,  and  beauty,  but  as  a 
means  of  mental  discipline  and  growth.  Because  this  must 
be  for  the  present  an  ideal  is  no  reason  why  the  physical — 
that  important  part  of  the  triune  nature  of  the  child — 
should  be  so  entirely  ignored  in  the  public  schools.  It  is 
not  necessary  that  the  teacher  should  possess  the  knowledge 
of  the  physician,  the  strength  and  skill  of  the  athlete,  or 
the  appurtenances  of  the  gymnasium  in  order  to  be  able  to 
develop  in  some  degree  the  bodies  of  the  children  under 
her  charge.  There  is  indeed  but  one  thing  needed,  and 
that  is  an  interest  in  the  subject  sufficiently  intense  to  carry 
her  belief  in  physical  education  beyond  theory,  into  practice. 
In  this  there  are  a  few  points  to  be  observed. 
First,  as  to  the  teacher: 

(1)  She  should  be  able  to  do  perfectly  everything  she  ex- 
pects the  children  to  do. 

(2)  She  should  have  a  plan,  and  work  steadily  toward  its 
fulfillment. 

(3)  She  should  have  an  orderly  arrangement  of  varied 
exercises. 

(4)  She  should  make  her  directions   simple,   clear,   un- 
changing, and  absolute. 

(5)  She  should  have  the  times  of  exercise  short  and  fre- 
quent. 

(6)  She  should  insist  upon  vigor  and  accuracy,  even  with 
little  children. 

(7)  She  should  guard  through  all,  the  health— physical, 
mental  and  moral — of  her  pupils. 

Second,  as  to  the  pupils : 

(1)  They  should  love  the  exercises. 

(2)  They  should  do  with  their  small  might  whatever  they 
are  set  to  do. 

They  should  grow  in  mind,  body,  and  soul  every  day 
.  work. 
Children  will  endure  and  enjoy  a  great  deal  of  physical 


PRELIMINAR  Y.  7 

fatigue  if  they  think  it  is  play.  They  are  also  exceedingly 
imitative,  and  desire  to  do  what  they  see  others  doing ;  while 
they  are  never  happier  than  when  making  believe  they  are 
something  or  somebody  whose  appearance  or  attributes  have 
caught  their  fancy.  These  peculiarities  of  children  have  been 
very  skilfully  taken  advantage  of,  in  this  matter  of  physical 
training,  by  kindergarteners  and  primary  teachers,  and  with 
most  excellent  results.  The  exercise  and  motion  songs,  the 
plays,  games,  marches,  and  musical  gymnastics,  delight 
the  children's  hearts  as  much  as  they  improve  their  bodies. 
With  such  happy  devices  as  these  at  command,  the  trained 
teacher  can  make  the  meanest  schoolhouse  in  the  land  a 
place  of  education  for  the  body  as  well  as  a  garden  for  the 
soul. 

Technical  Skill. 

Children,  being  comparative  strangers  to  the  world  of 
thought,  are  fond  of  the  concrete :  they  joy  in  doing.  Nature, 
the  wise  mother,  has  thus  provided  the  necessary  stimulus 
for  that  training  in  technical  skill  which  can  never  be  done 
so  well  as  now.  Here,  at  least,  the  teacher  works  with  every- 
thing in  her  favor.  To  help  her  she  has  the  strong  impetus 
of  the  child's  desire,  together  with  the  great  demand  for 
such  training  in  after-life,  and  needs  only  to  provide  the 
opportunities  and  mark  out  the  course.  As  to  methods, 
there  is  but  one,  and  that  is  comprehended  in  the  saying  of 
Comenius,  which  might  be  called  the  teacher's  golden  rule: 
"We  learn  to  do  by  doing."  Practice,  constant  and  con- 
tinuous practice,  is  the  only  thing  that  makes  perfect  in  the 
matter  of  technical  skill ;  and  the  child  will  not  tire  of  this  if 
the  teacher  has  the  art  to  so  inspire  him  that  he  will  never 
do  the  same  thing  twice  alike,  because  he  will  do  it  a  little 
better  every  time.  The  marvellous  dexterity  of  the  different 
members  of  the  body,  deftness  of  touch  in  hand  and  finger, 
and  the  wonderful  skill  of  throat,  eye,  and  ear  which  train- 


8  THE   "  QUINCY  METHODS"  ILLUSTRATED. 

ing  gives  even  to  the  youngest  pupils,  would  be  worth 
working  for,  aside  from  their  happiness  in  these  new  means 
of  expression.  But  beyond  all  this,  and  higher,  stands  the 
motive  for  this  work— the  development  of  thought  and  the 
generation  of  power. 

Moral  Training. 

It  was  not  only  a  great  extravagance  in  the  way  of  time 
and  effort  in  the  old  plan  of  education,  to  isolate  the  different 
subjects,  to  teach  reading  by  itself,  and  writing  by  itself, 
and  so  on,  but  it  was  also  a  pedagogical  blunder,  for  it  pre- 
vented the  pupils  from  comprehending  the  scope  of  the 
studies  they  were  pursuing,  and  filled  their  minds  with  a 
series  of  incomplete  and  disconnected  mental  pictures.  That 
was  bad  enough,  but  not  the  worst ;  for  this  fragmentary 
view  of  education  encouraged  the  teacher  to  believe  that 
mental  training  was  a  thing  apart  from  moral  training, 
and  that  therefore  she  had  no  responsibility  in  the  latter 
direction— an  almost  fatal  error.  It  is  as  impossible  to  draw 
the  line  between  mental  and  moral  education,  to  tell  where 
one  leaves  off  and  the  other  begins,  in  the  work  of  the 
teacher,  as  it  is  to  determine  which  is  mind  and  which  is 
matter  in  the  brain  of  the  pupil.  Every  exercise  of  the 
schoolroom,  every  particle  of  teaching,  involves  on  the 
part  of  the  child  one  or  more  of  the  three  divisions  of  a 
moral  action, — viz.,  comprehending,  choosing,  doing,— and  is 
therefore  generating  power.  This  power  may  be  used  either 
morally  or  immorally,  and  the  greater  the  amount  gener- 
ated the  greater  the  responsibility  of  the  teacher,  for  the 
clearer  the  comprehension  (if  divorced  from  right  choice 
and  moral  action)  the  greater  the  capacity  for  wrong-doing. 

The  teacher,  then,  is  under  at  least  the  same  obligation  to 
t  rriin  the  pupil  to  love  the  good  and  do  the  right,  that  she  is 
to  teach  him  to  think  clearly  and  work  well.  In  order  to 
do  this,  tl»"  inli'll'M't  <»f  tin-  lilflo  one  must  be  developed  till 


PRELIMINAR  Y.  9 

he  can  see  his  duty  plainly,  and  the  will  exercised  till  he  can 
do  it  cheerfully  and  unhesitatingly.  This  means  persistent 
training  in  self-dependence  and  self-control,  and  an  educa- 
tion in  all  the  virtues  by  means  of  their  unremitting  exer- 
cise. In  this,  as  in  every  other  thing,  the  child  can  only 
learn  to  do  by  doing,  and  all  reform  must  be  a  matter  of 
growth. 

The  baby,  conscious  only  of  himself  at  first,  loves  only 
himself.  As  his  world  widens,  his  affections  should  enlarge. 
If  they  do  not,  it  is  the  fault  of  his  education.  When  he 
first  enters  school  he  has  had,  in  most  cases,  little  or  no 
training — either  in  obedience,  the  foundation  of  religion,  or 
in  self-sacrifice,  the  cardinal  virtue;  while  his  desires  are 
strong  and  his  reasoning  powers  mostly  latent.  The  little 
one's  morals  and  manners  (the  outgrowth  of  his  under- 
standing of  his  relations  to  the  world  in  which  he  finds  him- 
self) are,  like  all  other  phases  of  his  thought  and  expression, 
undeveloped. 

Now,  it  is  the  nature  of  this  small  human  being  to  do 
again  whatever  he  has  done  before;  in  other  words,  the 
tendency  of  action  is  to  become  habitual.  It  follows  then, 
that  every  time  he  commits  a  wrong  act  he  is  in  training 
for  worse  things.  On  the  other  hand,  every  time  the 
teacher,  by  keeping  him  out  of  temptation  or  making  good 
attractive,  has  led  him  to  do  right,  he  has  gained  that  much 
of  moral  stamina. 

Again,  every  explanation,  every  particle  of  showing,  every 
bit  of  the  pupiVs  work  that  the  teacher  does — whenever,  in 
brief,  she  does  anything  for  him  that  he  can  do  for  himself, 
she  has  not  only  robbed  him  of  an  opportunity  to  discover, 
to  think,  or  to  do,  but  she  is  building  up  a  habit  that  will 
result  in  making  him  that  drone  in  the  world's  hive,  and 
that  unhappy  nuisance  in  society — a  helpless,  dependent  man 
or  woman.  If,  on  the  contrary,  she  takes  every  occasion  to 
withdraw  her  assistance  (when  it  can  be  done  without  dis- 


10         THE  "QUINCY  METHODS'9  ILLUSTRATED. 

cour aging  the  child),  and  has  the  power  so  to  inspire  him, 
that  he  will  insist  upon  thinking  for  himself  and  desire  to 
do  for  himself,  she  has  in  training  one  who  can  never  become 
either  a  mere  imitator,  or  a  blind  follower ;  but,  instead,  one 
who  will  inevitably  lead  his  fellows,  if  placed  among  those 
less  fortunate  than  himself  in  this  matter  of  education. 

Then  too,  every  fit  of  temper  in  which  he  is  allowed  to 
indulge  leaves  him  with  an  impetus  toward  the  habitual 
giving  way  to  bad  passions  that,  if  not  checked,  will  render 
his  life  tempestuous  and  miserable ;  while  every  happy  day, 
filled  with  kind  acts  and  pleasant  words,  spent  in  the  school- 
room, is  a  sunshiny  time  of  growth  for  those  gentler  emo- 
tions which  bid  fair  to  develop  into  the  strong  serenity  of 
noble  manhood  and  womanhood. 

Not  this  alone,  for  every  time  the  imperious  little  creature 
finds  himself  overpowered  by  a  sway  as  gentle  and  loving 
as  it  is  firm  and  strong,  he  is  being  disciplined  into  that 
submission  which  by  and  by  will  be  transferred  from  the 
teacher,  to  that  Higher  Power  which  rules  his  life. 

Finally,  and  most  important  of  all,  whenever  the  little 
one,  conscious  only  of  his  own  overmastering  desire  to  do 
that  which  he  should  not  do,  is  led  to  conquer  himself,  and 
refrain,  he  has  taken  a  step  in  the  upward  path  which  leads 
to  the  City  Eternal. 

"Sow  an  act,"  says  a  modern  writer,  "and  you  reap  a 
habit ;  sow  a  habit,  and  you  reap  character ;  sow  character, 
and  you  reap  destiny."  The  destiny  of  these  immortal 
beings  lies  in  the  hands  of  those  who  build  the  character. 
What  responsibility  can  be  greater,  what  work  grander, 
than  that  of  the  school-teacher,  the  great  character-builder 
of  the  next  generation? 


/*>t      OF  TOT 

'UNIVERSITY: 

d- 


CHAPTEK  IT. 

THE  FIRST  DAY  IN  SCHOOL. 

Do  teachers  ever  look  back,  down  the  long  vista  of  years, 
and  recall  the  lost,  forlorn  feeling  that  came  over  them 
when  they  stood  for  the  first  time  upon  the  threshold  of 
the  cheerless  school- room,  with  its  bare,  dilapidated  walls, 
rough,  ugly  seats,  and  unsightly  blackboard  leaning  tipsily 
against  the  side  of  the  room?  Have  they  forgotten  the 
dreadful  homesickness  that  overwhelmed  them  when, 
strangers  in  a  strange  land,  they  were  separated  from  the 
older  brother  or  sister  to  whom  they  had  clung,  and  placed 
upon  a  high,  uncomfortable  seat,  where,  like  Mahomet's 
coffin,  they  hung  suspended  between  heaven  and  earth? 
Have  they  no  memory  of  the  dazed,  bewildered  state  in 
which  they  sat  there,  staring  through  slowly  gathering 
tears  at  the  confused  mass  of  crooked  black  things  strag- 
gling down  the  first  page  of  Webster's  Spelling-Book,  which 
they  were  told  to  study  ? 

What  teacher,  so  remembering,  can  ever  underestimate 
the  value  of  first  impressions,  or  doubt  the  importance  of 
that  first  day  in  school.  Caesar's  crossing  of  the  Rubicon 
did  not  mark  a  more  eventful  era  in  the  history  of  Rome, 
than  does  this  first  experience  of  school  life,  in  the  develop- 
ment of  the  little  child.  Slowly  the  world  of  educators  is 
coming  to  recognize  this,  and  slowly  the  old  order  of  things 
is  passing  away,  giving  place  to  that  which  is  better.  Let 
us  see  how  this  great  event  is  provided  for,  under  the  new 
regime. 

It  is  Quincy,  at  half -past  eight  o'clock  on  the  morning  of 


12         THE   "  QUINCY  METHODS"   ILLUSTRATED. 

the  first  Monday  in  September.  The  school-yard  is  already 
half  full  of  boys  and  girls,  of  all  ages,  from  five  to  fifteen. 
Down  the  long  village  street — for  this  school  district  is  like 
a  little  village — the  children  come  sauntering  singly  and  in 
groups;  and  just  entering  the  gateway,  with  a  cluster  of 
little  people  around  her,  is  the  well-known  teacher  of  the 
Primary  School.  As  she  comes  up  the  walk  the  children  all 
start  with  smiling  faces  to  meet  and  greet  her.  The  older 
pupils  come  with  outstretched  hand  and  quiet  but  hearty 
"  How  d'ye  do,  teacher?"  often  adding,  "  I'm  glad  vacation's 
over,"  or,  "It's  nice  to  have  school  begin  again."  But  the 
little  ones,  more  demonstrative  in  their  gladness,  come  run- 
ning toward  her  like  young  lambs,  with  a  hop,  skip,  and 
jump;  when,  having  reached  her  side,  shyness  suddenly 
comes  over  them,  and  they  stand  with  finger  in  mouth  and 
downcast  eyes,  hardly  able  to  bring  themselves  to  look  into 
her  face  or  answer  her  cordial  welcome. 

After  a  few  pleasant  words  and  kindly  inquiries  regard- 
ing their  manner  of  spending  the  long  vacation  just  passed, 
the  teacher  goes  into  the  school-house,  and  the  children 
remain  outside  to  wait  for  the  ringing  of  the  first  bell. 

At  a  quarter  of  nine  this  is  heard,  and  those  who  choose 
pass  in  to  their  different  rooms,  but  many  still  remain  out- 
side—some to  meet  their  mates,  who  have  not  yet  come,  and 
some  to  watch  for  the  small  strangers,  who  are  just  begin- 
ning to  arrive. 

The  little  new-comers  are  always  accompanied  by  an 
older  person;  often  a  big  brother  or  sister,  sometimes 
I  \  ili<-  mother,  and  now  and  then  one  is  seen  clinging  to 
Hie  dress  of  a  white-haired  woman,  evidently  the  grand- 
ber,  At  five  minutes  of  nine  the  last  bell  rings,  and 
••ill  <-nt< T  UK*  building,  quietly  make  their  way  to  their 
respective  rooms,  and  take  their  scats.  When  the  hands  of 
the  clock  point,  t  .  nine  the  gong  strikes  for  the  morning 


THE   FIRST  DAY  IN  SCHOOL.  13 

exercises  to  begin ;  but  in  the  lowest  grade  this  is  omitted, 
for  filling  the  hall,  the  doorway,  and  the  front  part  of  the 
school-room,  is  a  motley  group,  made  up  for  the  most  part 
of  women  and  small  boys  and  girls.  Apparently  the  larger 
portion  are  foreigners  and  belong  to  the  laboring  class, 
many  being  wives  and  children  of  the  quarrymen  who 
work  in  the  granite  district. 

The  first  room  of  the  primary  grade  is  long  and  narrow, 
with  all  the  windows  on  one  side  and  end.  Low  black- 
boards fill  the  spaces  between,  and  line  the  other  walls,  ex- 
cepting where  sliding- doors  open  into  the  next  room.  There 
is  no  platform,  and  no  teacher's  desk;  only  a  table  with 
drawers,  at  the  end  of  the  room  nearest  the  door;  while  back 
of  the  six  long  rows  of  desks  is  another  table,  long,  un- 
painted,  and  furnished  also  with  drawers  that  are  deep  and 
wide— for  blocks,  etc.  The  walls  are  decorated  with  two  or 
three  cheap  pictures  and  a  variety  of  ornaments,  the  latter 
being  entirely  of  home  manufacture.  Growing  plants  hang 
in  the  windows,  and  a  few  bunches  of  flowers  are  withering 
on  the  teacher's  table. 

There  are  seventy-eight  of  the  tiny  seats  and  desks,  and 
the  three  rows  next  the  windows  are  filled  with  pupils  left 
over  from  the  last  class,  whose  seats  were  assigned  the 
closing  day  of  the  previous  term.  Most  of  these  having 
entered  the  preceding  April  were  consequently  not  ready 
for  promotion.  They  are  now  sitting  quietly,  watching 
with  wide  eyes  the  proceedings  going  on  in  front. 

The  teacher  having  taken  her  position  at  the  table, 
has  begun  her  work  of  taking  the  names- and  assigning 
seats  for  the  small  strangers.*  Every  moment  the  crowd 
is  increasing.  By  this  time  it  has  surrounded  the  teacher's 


*  It  is  a  law  of  the  town  that  every  child  who  attends  school  that  term  must  be 
registered  during  the  first  week,  except  in  special  cases. 


14         THE   "  QUINCY  METHODS"  ILLUSTRATED. 

chair  and  filled  all  the  vacant  space  before  the  children's 
desks.  As  fast  as  the  teacher  takes  the  names  and  ages* 
of  the  new  pupils,  the  trainer,!  who  is  assisting  her,  puts  the 
child  into  the  nearest  of  the  vacant  seats. 

In  most  cases  this  is  done  without  more  talking  than  is 
absolutely  necessary — just  the  questions  and  their  replies. 
Now  and  then  some  young  mother  will  say,  ' '  Why,  don't 
you  know  me,  Miss  B.  ?  I  used  to  go  to  school  to  you.  My 
name  was  Mary  C.,  and  this  is  my  little  girl,"  with  a  proud, 
fond  look  at  the  child.  ' '  You  will  find  her  a  nice  little  thing ; 
she  isn't  naughty  very  often,  and  she's  going  to  be  good  in 
school,  I  know."  Or  some  other  one  says,  with  the  unmis- 
takable brogue  of  Erin,  "Och!  but  he's  a  swate  little 
fellow !"  and  then  turning  to  her  son,  ' '  Now,  Mikie,  ye  are 
to  be  good  and  not  throuble  the  teacher;  mind  that,  me 
boy!"  Or  this:  "Be  a  good  girl,  and  do  what  the  teacher 
tells  you." 

It  is  noticeable  that  from  the  first  to  the  last  none  of 
the  parents  show  the  least  lack  of  confidence  in  the  teacher, 
and  not  a  youngster  betrays  the  slightest  particle  of  fear. 
The  former  may  be  owing  to  a  knowledge  of  Miss  B.'s  many 
years  of  good  work  in  this  district,  but  the  latter  must  be 
due  to  the  fact  that  her  personal  presence  inspires  them 
1 1  trust. 

One  by  one  the  names  are  taken,  the  children  placed, 
and  the  crowd  slowly  disperses.  As  soon  as  they  are  rid 
of  their  young  charges  the  older  brothers  and  sisters  pass 
to  their  own  schoolrooms,  and  most  of  the  mothers  go  their 
ways;  often  without  a  parting  look  toward  the  little  man  or 
woman  whom-  they  are  leaving  in  a  new  world.  But  two 
or  three,  who  are  Dear  neighbors  and  former  pupils  of  the 


*  They  are  not  admitted  under  five. 

'•       •  :    <••     M  .    'i.-iuberOl    Hi«    I  .   t  li-.iiiMiu'c!;iss,  nn.l  ncatu]i,|at<- loru 

teacher's  position. 


THE  FIRST  DAY  IN  SCHOOL.  I  5 

school,  gather  in  a  little  knot  in  the  corner  to  recall  old 
days  and  discuss  the  new. 

At  fifteen  minutes  of  ten  the  last  name  has  been  taken 
and  the  last  child  seated.  The  teacher  rises  and  comes 
close  to  the  front  of  the  first  row  of  desks,  standing  silent 
a  moment,  while  she  takes  a  long  look  at  her  pupils. 
Not  an  inspiring  sight — the  new  lot— certainly.  Swarthy 
Canadian  French,  fair-haired  Swedes  and  Norwegians,  the 
children  of  Great  Britain — Irish,  Scotch,  and  Welsh— and  a 
few  Americans,  make  up  this  mixture  of  nationalities. 
Upon  these  descendants  of  the  u  children  of  toil"  successive 
generations  of  ignorance,  poverty,  and  hard  labor  have 
made  their  impress.  It  shows  already  in  the  stolid  faces, 
misshapen  figures,  and  heavy,  awkward  movements ;  while 
timidity  has  robbed  them  of  the  last  grace  of  childhood — 
unconsciousness. 

The  older  ones  are  an  improvement,  surely.  Dressed 
in  clean,  light  clothes,  starched  and  ironed  to  the  last 
degree,  sitting  erect,  with  hands  folded  on  their  desks, 
and  a  sort  of  a  * '  We-know-all-about-it"  air,  their  shining 
faces,  from  which  all  shyness  has  vanished,  smiling  up 
at  the  teacher  to  see  what  is  coming  next.  During  this 
three-quarters  of  an  hour  they  have  been  left  to  take  care 
of  themselves,  with  only  a  small  admonitory  speech  from 
the  teacher  at  the  beginning,  running  thus:  "I  expect  my 
big  boys  and  girls  who  have  been  in  school  a  long  time  to 
help  me  take  care  of  the  little  ones  that  have  just  come  in;" 
and  a  reminder  later  on  of  this  style :  * '  You  know  we  wish 
to  show  the  new  children  how  to  behave,  and  you  must  do 
it,  because  I  am  too  busy ;"  and  it  must  be  admitted  that 
though  so  young  they  have  done  it  well.  Generally  they  have 
been  interested  in  looking  on  ;  some  few,  having  found  slate 
and  pencil  (nothing  else)  in  their  desks,  quietly  took  them  out 
and  amused  themselves  by  drawing  whatever  they  chose,  yet 
there  has  been  no  actual  disorder  and  but  little  whispering. 


1 6         THE    "QUINCY  METHODS"   ILLUSTRATED. 

At  last,  in  a  low,  pleasant  voice,  the  teacher  says,  "  Let  us 
sing  a  little  song  that  some  of  us  know.  Those  that  do  not 
know  it  may  listen,  and  see  how  they  like  it.  When  we 
are  all  ready  to  sing  we  will  fold  our  hands  on  our  desks." 
Here  the  teacher  folds  her  hands  on  the  child's  desk  just  in 
front  of  her,  to  show  the  new  ones  how  it  is  done,  and  leads 
off  with  "Birdie  in  the  Tree-top."  The  older  children  join 
in  promptly,  and  sing  with  a  vim  that  would  bring  down 
the  house,  if  the  house  wasn't  so  very  young;  hut  as  it  is,  it 
takes  it  all  in,  if  open  mouths  are  any  indication.  As  soon 
as  this  song  is  finished,  a  hand  goes  up,  and  some  one  says, 
"  Can't  we  sing  ahout  'Little  Stars  that  Shine  so  Bright'?" 
The  teacher  says  "Yes,"  and  the  children  begin. 

By  the  time  this  is  through,  the  airs  of  age  and  superiority 
which  the  small  veterans  are  assuming  become  oppressive. 
Several  suggestions  are  made  to  the  teacher,  such  as,  "Let's 
sing  'I  Wish  I  were  a  Sunbeam,' "  "I  know  a  nice  song!" 
"They  haven't  heard  us  sing  'Down  in  the  Meadows'!" 
But  the  teacher  quietly  nips  the  bud  of  their  growing 
assumption  by  serenely  saying,  "I  don't  care  to  sing  any 
more;  we  have  something  better  to  do.  I  want  to  ask 
some  of  the  boys  and  girls  who  have  been  here  a  long  time 
if  they  can  tell  me  something  that  has  wings."  Instantly 
every  hand  in  the  first  three  rows  is  in  the  air,  and  as  the 
teacher  calls  their  names  the  children  rise,  stand  erect, 
with  arms  at  the  sides,  and  answer  thus : 

"  A  bird  has  wings !" 

"  A  butterfly  has  wings !" 

"A  mosquito  has  wings!" 

"A  bumble-bee  has  wings !" 

"A  robin  has  wings !" 

"A  fly  has  wings!" 

"An  angel  has  wings!" 

"A  lniMiMiiii£-bird  has  wings!" 

"A  darning-needle  has  wings!" 


THE  FIRST  DAY  IN  SCHOOL.  I? 

11  You  mean  a  dragon-fly,"  corrects  the  teacher. 

"  A  wasp  has  wings !" 

"  A  duck  has  wings !" 

1 '  A  bat  has  wings !" 
'  "  A  goose  has  wings !" 

"  A  chicken  has  wings!" 

Here  the  teacher  interposes :  * '  We  will  all  have  wings ! 
Sit  up  and  spread  out  your  arms,  so  (suiting  the  action 
to  the  word),  for  wings,  and  show  me  how  you  would 
use  them  if  you  were  going  to  fly."  At  this  the  older 
ones  flap  their  arms  vigorously.  Some  of  the  new  ones 
have  gone  so  far  as  to  put  their  arms  out  a  little  way  at  the 
side,  but  when  they  see  the  others  flying  they  drop  them 
helplessly.  The  action  gets  beyond  their  power  to  grasp, 
and  they  can  no  more  do  it  than  the  young  birds  can  fly 
the  first  time  the  mother-bird  tries  to  have  them.  When 
the  flying  is  in  full  force,  "That  will  do,"  says  the  teacher. 
"We  will  all  fold  our  arms,  like  this  (folding  hers  in  front). 
Now,  who  can  think  fast  and  tell  me  something  that  can — 
run?"  The  little  ones  begin  to  show  some  faint  signs  of 
thought.  A  few  of  the  faces  are  lighting  up  a  trifle,  but 
they  are  not  yet  ready  for  expression;  no  one  shows  any 
indication  of  a  desire  to  speak.  Of  course  the  older  ones 
carry  on  the  lesson.  The  first  one  called  up,  naturally  says, 
' '  J  can  run !"  Then  follows : 

"Arnan  can  run!" 
•    "  A  dog  can  run !" 

"  A  horse  can  run!" 

"  A  cow  can  run!" 

"A  donkey  can  run  I" 

"A  cat  can  run!" 

* '  A  mouse  can  run !" 

"A  rat  can  run!" 

"A  goat  can  run!" 

"A  hen  can  run!" 


18         THE  "QUINCY  METHODS"   ILLUSTRATED. 

11 A  pigeon  can  run  1" 

"A  bird  can  run!" 

"  No,  a  bird  hops,"  corrects  a  child. 

"Come  out  and  show  me  how  they  hop,"  says  the  teacher, 
smiling  encouragingly. 

The  child  hangs  back  for  a  moment,  slightly  daunted  by 
this  sudden  turn  of  affairs;  but  his  pride  at  being  thus 
called  upon  coming  to  the  rescue,  he  marches  out  sturdily, 
and  hops  around,  first  on  one  foot  and  then  on  the  other, 
greatly  to  the  delight  of  the  new  pupils. 

"That  is  enough,"  and  the  teacher— as  the  child  returns 
to  his  seat — resumes  the  lesson  by  asking,  "What  else  can 
run?" 

"A  fox  can  run!" 

"A  kitten  can  run  1" 

"A  pony  can  run !" 

"  Yes,"  says  the  teacher,  "and  I  think  you  would  like  to 
play  pony  a  while ;  so  you  may  all  go  out  and  have  a  little 
run  in  the  yard.  But  before  you  go,  let  me  see  how  straight 
you  can  sit,  touching  your  back  against  the  back  of  the 
chair,  and  folding  your  hands  on  the  desk."  The  new  ones 
nearly  all  make  an  effort  to  sit  up.  The  teacher  and  trainer 
go  through  the  aisles,  and  place  those  in  good  position  w,ho 
are  sitting  very  much  out  of  line.  Then  the  teacher  comes 
back  to  the  front  and  says,  "  This  first  line  of  older  children 
may  show  the  new  ones  how  to  get  up,— and  go  out,— and 
get  their  hats, — and  come  in, — and  take  their  seats  again." 
(To  the  older  pupils)  "Turn!"  (they  turn  to  the  right). 
"Stand I  pass  out."  They  do  this  with  considerable  pre- 
cision, returning  with  their  hats,  and  taking  their  seats 
again. 

The  second  and  third  rows  do  the  same ;  now  come  the  new 
ones.  Standing  in  front  of  the  first  row  of  desks,  the  teacher 
says,  "  Turn— that  way,"  indicating  with  her  hand  the  right. 
Part  do;  the  rest  sit  and  look  at  her  as  if  she  had  spoken  in 


THE   FIRST  DA  Y  IN  SCHOOL.  19 

an  unknown  tongue.  The  teacher  and  trainer  pass  down  the 
aisle,  and  turn  these  around  bodily.  Going  back  to  her  place 
in  front,  the  teacher  says,  " Stand!  all  of  you."  One  after 
another  they  straggle  up,  several  being  picked  up  out  of 
their  seats  and  stood  on  their  feet  by  the  trainer. 

Then  the  teacher  says,  "Go  out  into  the  hall  and  find  your 
own  hats,  bring  them  in,  and  sit  down  in  your  seats. "  This 
command  seems  to  be  comprehended  by  nearly  all,  as  they 
start  off  at  once  for  the  door,  preceded  by  the  trainer,  who 
helps  them  to  find  their  hats  and  gets  them  back  to  the  door- 
way again.  Reaching  this,  and  looking  into  the  large,  un- 
familiar room,  filled  with  strange  faces,  they  become  be- 
wildered, and  stand  like  a  flock  of  frightened  sheep,  hope- 
lessly dazed  and  lost.  "Come  in  and  take  your  seats 
again,"  urges  the  teacher  pleasantly.  Upon  this  the  quicker- 
witted  of  the  group  strike  a  bee-line  for  the  first  empty 
seats,  and  the  rest  are  gently  half  pulled,  half  pushed  into 
the  remaining  places. 

This  performance  is  repeated  with  each  succeeding  row, 
until  all  have  been  out  and  back,  and  the  whole  roomful  sit 
with  their  hats  on,  ready  for  recess.  The  teacher  announces, 
"We  are  ready  to  go  out.  You  may  all  turn  to  the  right" 
(indicating  as  before  with  her  hand).  The  older  ones  turn 
promptly,  and  the  new  ones  come  around,  or  are  helped, 
slowly.  "  Stand !"  They  are  all  up,  after  a  little.  Some  of 
the  other  children  in  the  row  try  to  help  the  little  learners 
by  reaching  over  and  giving  the  slow  ones  a  slight  push, 
which  helps  them  to  their  understanding  in  more  ways  than 
one.  The  teacher  continues,  ' 4 1  want  all  my  big  boys  and 
girls  to  look  after  the  little  ones,  and  not  let  them  go  out 
of  the  yard ;  and  when  the  bell  rings,  to  see  that  they  come 
back  into  the  schoolroom.  The  first  line  may  walk  out 
quietly."  The  second  and  third  follow  in  like  manner;  some 
of  the  strangers  start,  but  are  told  to  wait  till  their  turn 
comes.  Then  the  fourth  row  is  called.  They  rush,  crowd 


2O         THE  "  QUINCY  METHODS'"  ILLUSTRATED. 

and  straggle  out,  in  a  line  that  resembles  the  walls  of  Troy. 
The  rest  of  the  rows  get  out  of  the  house  in  about  the  same 
style,  where  some  of  the  older  children  are  waiting  to  take 
them  in  charge  during  the  recess. 

The  care-takers  seem  to  find  great  pleasure  in  this,  and 
faithfully  fulfil  their  duty,  watching  the  little  ones  in  true 
fatherly  and  motherly  fashion.  If  any  happen  to  stray 
outside  the  gate,  some  older  pupil  chancing  to  catch  sight 
of  the  small  wanderers,  leaves  his  play  at  once,  and  goes  to 
coax  the  youngsters  back. 

In  fifteen  minutes  the  bell  rings,  and  the  merry  crowd, 
surging  in  at  the  four  doors,  falls  into  long  processions, 
winding  up  the  stairs  or  through  the  halls  to  their  different 
rooms.  The  babies  are  met  at  the  threshold  by  the  trainer, 
who  unties  all  the  hard  knots,  shows  them  where  to  hang 
up  their  hats,  and  directs  them  toward  the  right  door.  Ar- 
riving there,  they  stand  all  huddled  up  in  a  bunch,  blocking 
the  doorway,  and  completely  lost,  as  far  as  any  idea  of  their 
seats  is  concerned.  The  teacher  toward  whom  they  look  for 
help  only  stands  and  smiles,  and  makes  no  move  to  assist ; 
but  she  is  watching,  with  the  eye  of  the  skilled  reader  of 
character,  every  motion  of  these  tiny  men  and  women  with 
whom  she  has  hereafter  to  deal.  Presently,  some  being 
pushed  inside  by  those  in  the  rear,  the  more  enterprising 
make  a  dash  for  the  nearest  vacant  desks,  followed  by  the 
rest.  These,  beginning  to  understand  by  this  time  that  they 
are  expected  to  be  seated,  slowly  manage,  after  several  mis- 
haps, such  as  getting  into  an  aisle  where  the  seats  are  full 
or  trying  to  sit  in  a  chair  already  occupied,  to  get  themselves 
distributed.  This  they  do  without  other  aid  than  that  af- 
forded by  the  older  pupils,  who  are  intensely  interested  in 
the  proceedings. 

Those  who  are  so  fortunate  as  to  sit  next  to  the  strangers 
demonstrate  their  good-will  by  various  and  sundry  pokes, 
pushes,  and  pulls,  while  the  veterans  who  are  too  far  off  to 


THE  FIRST  DA  Y  IN  SCHOOL.  21 

reach,  content  themselves  with  considerable  expressive  ges- 
turing. Now  the  teacher,  folding  her  hands  upon  one  of  the 
front  desks,  begins  to  sing,  "I  Wish  I  were  a  Sunbeam." 
The  older  children  catch  up  the  strain  and  sing  out  full  and 
clear,  while  the  younger  listen  with  evident  appreciation. 

At  the  close  of  the  song,  the  trainer  having  been  previously 
instructed,  takes  charge  of  the  three  rows  of  older  pupils. 
She  sets  the  first  row  to  copying  from  the  blackboard  this 
sentence,  "  I  met  a  man,"  written  between  lines,  in  her  very 
best  handwriting.  To  each  one  in  the  second  row  she  gives 
a  handful  of  shoe-pegs,  and  says,  * l  Make  something  for  m© 
on  your  desk,  and  then  draw  it  on  your  slate."*  The  third 
division  she  takes  to  the  table  (the  one  back  of  the  desks) 
for  a  lesson  in  number.  Meanwhile  the  teacher  begins  to 
arrange  the  new-comers,  assigning  to  each  this  time,  the  seat 
which  is  to  be  his  home  in  the  schoolroom— the  chair  and 
desk  which  he  is  to  have  for  his  own  (by  right  of  possession] 
during  the  term. 

While  aiming,  as  a  general  thing,  to  place  the  shorter  in 
front  and  the  taller  in  the  back  seats,  there  are  other  points 
to  be  considered,  in  which  her  power  to  read  character  must 
be  the  guide.  For  instance,  the  shy  little  tots  are  placed  as 
near  to  where  the  teacher  will  stand,  as  circumstances  will 
allow  (this  with  a  view  to  getting  acquainted),  while  one 
with  mischief  in  his  face  is  also  given  a  front  seat  that  he 
may  be  within  reach  of  hand  or  eye. 

After  all  are  placed,  she  takes  paper  and  pencil,  and,  be- 
ginning at  the  head  of  the  first  row  of  those  just  seated, 
she  asks  each  child  his  name:  this  she  writes  opposite 
the  number  of  his  desk.  Two  things  she  here  seeks 
to  accomplish :  first,  to  get  the  children  to  speak  to 
her ;  second,  to  learn  to  associate  each  pupil  with  his 
place  in  the  schoolroom.  Sometimes  she  gets  no  re- 


*  They  make  trees,  houses,  fences,  ladders,  purnps,  stairs,  hats,  chairs,  etc. 


2  2         THE  ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

sponse,  try  as  she  will ;  then  she  has  to  refer  to  her  book. 
Occasionally  it  comes  in  an  unknown  dialect,  and  she 
asks  some  of  the  older  children  to  translate ;  but  usually  she 
is  successful  in  learning  at  least  the  first  name  from  the 
owner  himself.  This  done,  she  goes  to  the  first  child  who 
sits  in  a  front  seat,  and  tells  him  that  this  is  his  seat  every 
time  he  comes  in,  and  bids  him  look  around,  and  see  who 
sits  on  each  side  of  him,  so  as  to  know  where  to  go.  Then 
the  child  behind  him  is  told  to  remember  that  he  is  always 
to  sit  just  back  of  this  one  (taking  hold  of  the  first,  and  turn- 
ing him  around  so  that  the  second  can  see  his  face),  and  to 
see  who  is  on  each  side  of  him. 

And  so  she  goes  on,  down  the  three  rows.  When  in  the 
course  of  this  the  teacher  comes  to  any  small  foreigner  who  has 
not  yet  learned  to  speak  English,  she  calls  as  before  upon  one 
of  her  young  interpreters  to  translate.  Meantime  the  trainer 
has  given  the  number  lesson  to  the  third  division,  and 
examined  the  slate-work  of  the  first  and  second.  After 
this  she  tells  the  children  who  have  the  pegs,  to  pass  them 
across  the  aisle  to  the  right  (the  first  row),  sets  the  third  to 
writing  the  copy  on  the  board,  and  gives  the  second  division 
a  lesson  in  number.  Now  she  is  examining  the  work  done 
by  those  in  their  seats  during  the  last  ten  minutes,  while 
two  children,  appointed  by  her,  start  from  each  end  of  the 
fit  >1  row  to  collect  the  pegs. 

In  two  or  three  minutes  all  are  in  their  seats,  and  the 
teacher  standing  in  front  says,  "Listen  to  me.  I  have 
given  these  little  folks  seats  of  their  own  ;  now  I  am  going 
to  lot  them  go  away  from  them,  and  see  if  they  can  find 
th  in.  while  the  rest  of  us  watch."  Then,  speaking  to  the 
new-comers  straight  in  front  of  her,  she  says,  "This  row 
may  turn  to  the  right !"  indicating  with  her  hand  the  way 
she  nn'MMs.  ;is;ill  «f  i  ln-m  may  not,— probably  do  not,— know 
ri^lit,  from  left.  Some  turn  at  once,  others  hesitate,  and  the 
ii  .liner helps  the  laggards  at  the  rear  of  the  row  while  the 


THE  FIRST  DA  Y  IN  SCHOOL.  23 

teacher  manages  those  in  front.   Eeturning  to  her  place,  she 
commands,  "  Stand!  face  me!" 

They  come  up  pretty  well,  and  in  time  get  their  faces 
toward  the  front.  "You  may  all  come  up  here  to  the  desk," 
says  the  teacher,  stepping  back  to  the  table  as  she  speaks. 
Nearly  all  go  forward,  but  a  few  still  stand  by  their  seats, 
while  some  get  part  way  up  the  aisle,  and  stop.  But  the 
trainer  is  equal  to  the  emergency :  she  comes  up  the  rear  of 
the  aisle,  and  serenely  drives  them  before  her  to  the  front, 
where  they  stand  like  a  lot  of  little  lambs  clustering  around 
the  person  who  feeds  them.  "Do  you  think  you  can  find 
the  seats  you  just  came  from?"  the  teacher  asks,  with  her 
winning  smile.  One  or  two  say,  "I  can,"  or  "Yes'm." 
"Well,  you  may  try  it;"  and  as  a  few  only  look  as  if  they 
had  any  idea  of  moving,  adds  immediately,  "All  of  you!" 
Then  nearly  all  start ;  the  brighter  ones  and  those  who  sit  on 
the  front  seats  leading. 

As  fast  as  one  sits,  others  who  recognize  him  as  a  neighbor 
are  thus  enabled  to  reckon  their  latitude  and  longitude,  and 
slip  into  their  seats  with  a  look  of  decided  relief.  Occasion- 
ally one  who  is  sitting  looks  around  and,  seeing  familiar 
faces  farther  back,  changes  his  place  for  the  right  one ;  now 
and  then  two  make  for  the  same  seat  on  different  sides,  but 
the  one  who  is  in  place  holds  his  own  till  the  other  sees  his 
mistake.  All  this  time  three  children,  two  girls  and  a  boy, 
remain  at  the  teacher's  side,  lacking  courage  to  move.  To 
them  she  says  gently,  "Can't  you  find  your  seats?"  One, 
suddenly  discovering  a  face  she  remembers,  now  starts  for  an 
empty  seat,  but  the  other  two  remain  silent  and  stationary. 
Then  the  teacher  asks  them  their  names,  and  referring  to  the 
paper,  finds  their  seats,  and  sends  them  to  their  places  under 
the  care  of  the  trainer. 

This  same  proceeding  is  gone  through  with,  down  the  other 
two  lines,  the  older  pupils  being  all  this  time  interested  spec- 
tators. "I  think  you've  done  pretty  well,"  pronounces  the 


24         THE  "QUINCY  METHODS"   ILLUSTRATED. 

teacher,  at  the  close ;  "  and  now  these  big  boys  and  girls  may 
show  you  how  well  they  can  find  their  seats.  The  first  three 
rows  may  face;"  all  turn  like  automatons,  but  with  much 
scuffing  of  feet  on  the  floor.  "A  little  too  much  noise,  chil- 
dren :  let  us  try  it  again.  Face !  That  is  better :  stand !"  They 
spring  into  line,  turning  to  face  the  front  as  they  do  so. 
"You  may  march  once  round  the  room  the  first  line  lead- 
ing. Hold  up  your  heads,  put  your  shoulders  back,  and 
stand  as  tall  as  you  can.  Have  your  hands  hang  easily  at 
your  sides,  rest  on  the  right  foot  and  start  with  the  left." 
As  she  gives  each  direction,  the  children  obey  it,  and  now 
look  as  if  they  were  made  mostly  of  backbone. 

The  teacher  begins  to  clap  her  hands  as  she  calls,  "  Left — 
right —left— right;"  and  they  march  off  in  good  style,  with 
heads  held  high,  necks  very  stiff,  and  eyes  rolling  to  right 
and  left,  to  see  if  the  strangers  are  duly  impressed.  When 
the  circuit  of  the  room  is  completed,  the  command  comes, 
"Sit  when  you  come  to  your  seats!"  Now  the  trainer  dis- 
tributes the  pegs  to  the  third  row  of  veterans,  sets  the  sec- 
ond line  to  copying  the  sentence  on  the  board,  and  takes  the 
first,  back  for  their  number  lesson.  These  being  happily  at 
work,  the  teacher  standing  in  front,  and  smiling  down  at 
the  three  lines  of  babies,  begins,  "Have  any  of  you  a  little 
kitty  at  home?"  "I  has,"  sings  out  a  chubby  little  girl,  who 
is  to  all  appearance  more  fortunate  in  her  home  and  parent- 
age than  most  of  the  lot.  "Anybody  else  ?"  "  Me !"  says  a 
sturdy  Scotch  lad.  "Anybody  else?"  Two  interrogation- 
marks  in  her  question  this  time,  but  it  gets  no  answer. 

Looking  directly  at  a  wide-awake  little  girl,  she  queries, 
"Haven't  you?"  Negatived  by  an  emphatic  shake  of  the 
head.  Seemingly  not  daunted  by  this,  the  teacher  fixes  her 
eyes  on  another  child,  who  appears  to  be  following  her  col- 
loquy, and  he  remarks,  as  if  bringing  forth  the  nearest  idea 
to  the  subject  under  discussion  he  could  think  of,  "I  got  a 
black  and  white  catl"  "My  cat's  black  and  white  tool" 


THE  FIRST  DAY  IN  SCHOOL.  2$ 

comes  a  voice  from  the  back.  This  seems  too  good  a  cue  to 
be  dropped,  so  the  teacher  catches  it  up  and  asks,  "  Hasn't 
anybody  else  a  black-and-white  cat?"  Not  a  sound  (that 
wasn't  the  cue  after  all) ;  and  she  hastens  to  cover  her  blun- 
der by  taking  another  tack.  * '  I'd  like  to  have  you  tell  me 
something  your  cat  can  do  ?"  But  this  question  is  a  little  too 
hard,  consequently  gets  no  answer.  The  teacher  appreciates 
this  fact,  and  tries  to  simplify  by  making  it  personal.  Ad- 
dressing herself  directly  to  the  little  boy  who  spoke  out,  she 
asks,  "What  does  your  cat  do?"  "My  cat  don't  do  any- 
thing," is  the  instant  response. 

"  Doesn't  she  walk  ?" 

"Yes." 

"Doesn't  she  eat?" 

"Yes." 

"Now"  (assuringly),  "I  think  you  can  tell  me  something 
else  she  does." 

After  a  moment's  thought,  "  She  runs  sometimes. "  Here 
another  boy  comes  to  the  front  with  the  remark,  very  de- 
liberately delivered,  "My  cat  run  up  a  tree  once."  Quick 
as  thought  came  the  query,  "  What  made  her  run  up  a  tree  ?" 
No  response  except  a  dull  stare.  Then,  suggestingly,  "Did 
anything  chase  her?"  "  I'd  dun  know,"  drawls  out  the  child 
without  a  particle  of  either  interest  or  animation.  "Did 
you  ever  see  a  dog  chase  a  cat?"  is  the  next  interrogatory, 
pointed  at  a  boy  obviously  older  than  the  rest,  whose  face 
has  just  begun  to  light  up.  "My  dog  chased  a  cat  once,  and 
you'd  just  better  guess  she  run,"  he  says,  quite  losing  him- 
self in  his  story. 

This  the  teacher  realizes,  and  prompt  to  seize  any  advan- 
tage offered,  she  follows  with  the  question,  "Where  did  she 
run  ?"  but  his  attention  has  flagged,  his  interest  is  lost, 
and  he  replies  indifferently,  "  Oh,  she  runned  way  off."  So 
there  is  the  end  of  that  lead ;  another  must  be  tried.  ' '  What's 
your  dog's  name  ?"  addressing  her  query  to  a  small  boy  close 


26         THE   ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

by,— who  has  been  sitting  with  his  back  toward  her  watch- 
ing the  class  at  the  number  table,— deftly  turning  him 
around  as  she  speaks.  He  seems  to  regard  this  as  a  part 
of  the  regular  program,  and  answers  composedly,  "His 
name's  Jack;  we  calls  him  doggie." 

"  And  what  is  your  dog's  name?"  this  to  a  quiet  child  who 
sits  with  wide  eyes  and  open  mouth,  and  hasn't  spoken  all 
the  morning.  This  direct  question  throws  him  off  his 
guard,  and  he  answers  before  he  thinks  to  be  shy,  "I 
hain't  got  any."  "  You  have!"  to  another.  A  slow  shake 
of  the  head.  "Well,  you  have,  I'm  sure!"  to  a  small 
Scotch  boy,  with  a  real  baby  face,  who  doesn't  look  to  be 
over  four  years  old.  "  No,  I  hain't,  but  mine  uncle  Jimmie 
has,— a  dreat  big  one!"  The  teacher  looks  as  if  she  had 
struck  gold  at  last,  and  hastily  adds,  "What's  his  name?" 

"  Oh,  his  name's  Watch,  an'  he  sleeps  in  the  barn,  an'  " 
(with  great  impressiveness)  "  he  drowls  dreffully !" 

This  is  inspiring;  the  teacher's  face  brightens,  and  she 
goes  on:  "I  should  think  you'd  be  afraid  of  him." 
Thought  is  infectious,  and  before  the  child  gets  quite  ready 
to  answer,  another  small  boy,  with  a  big  head  surmounted 
by  a  flaxen  top-knot,  drawls  out,  "  When— I's— in— Bossn" 
(Boston) — *  *  I — see — a — dog — drawin — a — wagg'n. "  "  Who 
was  in  the  wagon?"  is  the  next  demand  from  the  teacher. 

"I'd — dun— know;"  all  the  interest  dying  out. 

The  teacher  getting  desperate,—"  Was  it  a  boy  or  a  girl?" 

"  A  boy,"  with  a  real  Dundreary  drawl. 

"  Was  he  as  large  as  you  are,  or  larger?" 

"  He— was— an— awful— big— boy." 

It  takes  a  long  time  to  get  this  off,  and  it  being  a  part  of 
the  teacher's  plan  to  stop  while  in  the  full  tide  of  success, 
she  now  skilfully  brings  this,  their  first  lesson,  to  a  close, 
by  casually  remarking, 

"I  think  I  should  like  to  ride  in  a  wagon  like  that,  and 
hiv<  the  wheels  go  round  and  round;"  revolving  her  fore- 


THE  FIRST  DA  Y  IN  SCHOOL.  27 

arms,  held  horizontally,  around  each  other  as  she  says  it. 
"Let's  all  play  we  are  riding,  and  we  will  make  the  wheels 
go  round  and  round,  like  this."  As  they  only  sit  and  stare, 
she  adds,  "  I  want  you— all,  to  try  to  do  it."  Ten  or  twelve 
try  it ;  the  rest  look  on.  Some,  who  act  as  if  they  would 
like  to  do  it,  the  teacher  helps,  hy  taking  hold  of  their  arms 
and  starting  the  motion,  and  they  go  on  after  this.  The  re- 
mainder she  lets  alone,  as  being  too  timid  to  be  touched. 
Soon  after  they  get  well  agoing  she  says,  ' '  Now  we  will  all 
stop  and  put  our  arms  this  way"  (folding  hers  in  front). 
"Now  you  may  fold  your  hands  on  the  desk."  Every  one 
manages  to  accomplish  this,  it  being  the  third  time  they 
have  attempted  it  to-day.  The  teacher  says  pleasantly,  "I 
wonder  if  you  have  forgotten  how  to  stand  nicely.  We  will 
try  and  see.  All  face  the  right "  (moving  her  hand  in  that 
direction).  More  turn  than  at  any  previous  tune;  the  rest 
are  helped  as  before.  "Stand,  and  face  me!"  They  rise 
and  turn;  encouragingly,  "  That  was  done  very  well.  You 
may  sit  down  quietly  and  fold  your  hands.  Pretty  soon 
I  shall  want  you  to  show  me  again  how  well  you  can 
stand."  The  older  ones,  who  have  been  going  on  with  their 
work,  have  finished  it.  The  trainer  has  examined  the  Busy- 
Work,  collected  the  pegs,  and  all  are  now  sitting  with  folded 
hands. 

Coming  to  the  front  the  trainer  begins  to  sing  ' '  Little  Jack 
Horner,"  the  veterans  joining  in  heartily ;  then  follows  "Lit- 
tle Boy  Blue,"  and  they  close  with  a  song  about  "Tommy 
and  the  Eobins  who  Steal  his  Cherries,"  which  delights  all 
the  children.  It  is  now  fifteen  minutes  of  twelve,  and  the 
trainer  gives  each  new  little  one  a  slip  of  paper,  on  which  is 

written,  4 '  Please  send  me  six  cents  for  a  slate.  A B , 

Teacher." 

These  the  teacher  tells  them  to  take  home  to  their  mothers. 
They  regard  the  papers  with  unspeakable  awe,  some  solemnly 
laying  them  away  (till  they  are  ready  to  go)  upon  the  top 


28         THE    "QUINCY  METHODS"   ILLUSTRATED, 

of  their  desks,  picking  them  up  every  minute  or  two,  and 
waving  them  back  and  forth  between  their  eyes  and  the 
window,  as  if  they  thought  to  see  something  more  upon 
them  than  was  visible  to  the  unassisted  vision.  Some  vary 
their  examination  of  these  mysterious  objects  by  bringing 
another  sense  into  service.  They  put  the  corners  of  them 
in  their  mouths  and  fall  to  biting  them.  A  few  of  the  boys 
put  them  proudly  away  in  the  depths  of  their  pockets, 
bringing  them  forth  every  little  while  to  see  if  they  are 
really  there.  Several  of  the  girls  cherish  them  carefully 
in  their  aprons,  and  others  who  have  neither  pockets  nor 
aprons  roll  them  into  small  wads,  which  they  carry  in 
their  grimy  hands. 

Presently  the  teacher  commands.— "First  row!  Facel 
Stand!  Pass!"  and  so  the  dismissal  goes  on.  The  new 
pupils  go  out  better  and  find  their  seats  more  readily,  and 
leave  the  building  less  like  a  drove  and  more  like  a  pro- 
cession. They  have  begun  already  to  show  the  effects  of 
education,  though  they  have  been  in  school  but  one  half  day. 

At  fifteen  minutes  of  two  the  school-yard  is  full,  while 
up  and  down  the  streets  the  children  are  coming  in  pretty 
groups  of  three  or  four.  Often  an  older  child  leads 
by  the  hand  a  little  brother  or  sister,  and  now  and 
then  a  big  boy  or  girl  is  seen  with  a  tiny  neighbor 
under  his  or  her  protecting  care.  Once  in  a  while  a  num- 
ber of  little  girls  come  in  sight,  escorting,  with  many 
matronly  airs,  a  small  stranger  nearly  or  quite  as  old  as 
themselves.  Now  the  bell  rings,*  and  the  stragglers  hasten 
their  steps.  Several  of  the  larger  children,  with  that  pa- 
rental care  which  is  BO  noticeable  in  the  pupils  of  the 
Quincy  schools,  look  around  to  see  how  the  little  ones  are 
coming  on— perhaps  hasten  their  steps  by  a  call  or  a 
warning  word.  Occasionally  some  little  fellow  is  taken  by 

*  This  is  the  signal  for  those  who  are  within  sound,  to  leave  the  street  and 
POSH  into  the  yard;  they  may  go  into  the  schoolhoune  if  they  choose,  but  are 
not  required  to  do  so  till  the  ringing  of  the  last  bell,  at  flve  minutes  of  the  hour. 


THE  FIRST  DA  Y  IN  SCHOOL.  29 

the  hand  between  two  big  boys  and  hurried  on,  or  a  tiny 
youngster  is  caught  up  in  the  arms  of  a  senior,  to  be  set 
gently  down  inside  the  gate. 

The  last  bell  rings,  and  a  general  move  is  made  toward  the 
four  doors,  but  no  pushing  or  crowding.  The  older  pupils 
stand  back  and  let  the  smaller  ones  go  first,  often  giving  a 
friendly  lift  to  some  short-legged  youngster  who  finds  the 
door-step  too  high.  Quietly  they  pass  through  the  halls, 
hang  up  their  hats  on  nails  near  the  doors  of  their  respective 
rooms,  and  pass  in. 

The  trainer  stands  ready  just  outside  the  primary-room 
to  help  the  little  strangers  dispose  of  their  head-covering, 
which  is  accomplished  with  considerable  difficulty,  they 
being  encumbered  with  a  small  package,  which  they  will 
not  under  any  circumstances  let  go  out  of  their  hands.  So 
they  patiently  stand  and  wait,  with  chin  in  air,  for  the 
trainer  to  untie  the  strings  or  lift  up  the  elastic  that  holds  the 
hat,  which  being  done  they  trot  oif  into  the  schoolroom,  still 
holding  tightly  the  precious  package.  Two  or  three  have 
slates  under  their  arms,  which  they  proudly  display  to  their 
mates,  and  then  bear  away  in  triumph  to  their  seats. 

The  majority,  however,  have  not  taken  their  seats,  but 
surround  the  teacher's  chair  to  give  her  what  they  have 
brought.  This  proves  to  be  the  required  six  cents,  care- 
fully wrapped  in  a  piece  of  paper.  Most  of  them  hand 
the  money  at  once  to  the  teacher,  but  a  few  of  the  youngest 
girls  begin  to  hunt  under  white  aprons  and  through  the 
gathers  of  dress-skirts  for  their  pockets  (where  the  money 
was  probably  placed  for  safer  keeping  by  the  mother).  This 
being  found,  it  takes  at  least  three  minutes  to  bring  up  the 
pennies  from  its  depths,  sometimes  it  being  necessary  to 
turn  the  pocket  inside  out  to  get  at  its  contents.  They  have 
found  their  seats  this  time  with  but  little  difficulty,  the  two 
or  three  who  did  not  remember,  being  assisted  by  the 
trainer. 


30         THE    ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

Just  befpre  two  o'clock  the  last  empty  chair  is  filled,  and 
when  the  gong  strikes,  every  child  is  sitting  with  folded 
hands  waiting  for  school  to  begin.  Now  the  teacher,  taking 
her  stand  in  front  of  the  desks,  begins  to  sing, 

"  Spring  once  said  to  the  nightingale, 
I  mean  to  give  the  birds  a  ball," 

and  the  children  join  as  before.  Then  follows  "Trip  it 
Lightly  Along."  When  this  is  sung,  the  teacher  says  to  the 
veterans,  "Take  your  slates  and  pencils,  ready  to  write  " 
There  is  a  little  rattling  of  slates,  and  two  or  three  pencils 
roll  noisily  down  the  desk,  dropping  upon  the  floor ;  but  in  a 
moment  these  are  recovered,  and  the  room  is  still  again. 

"  Turn  to  face  the  blackboard!"  * 

'  *  Who  can  read  the  sentence  that  we  are  to  write  ?" 

The  hands  fly  up,  a  perfect  forest,  in  the  first  three  rows. 

"  Peter  may  read." 

He  rises  promptly,  stands  by  his  chair,  holds  up  his  head, 
and  reads,  "The  corn  is  in  the  dish."  The  sentence,  taken 
from  their  reading  lesson,  is  beautifully  written,  and  he 
reads  it  distinctly  and  intelligently. 

"You  may  all  raise  the  right  hand,  and  point  with  the 
first  finger  to  the  place  where  we  begin." 

The  teacher  stands  by  the  board,  and  the  pupils  point  to 
the  top  of  the  stem  of  the  "  T."  The  teacher  points  to  the 
same  place,  with  her  forefinger  about  three  inches  from  the 
board.  Together  they  trace  in  the  air  the  words,  "The 
corn."  When  the  new  word  (corn)  has  been  written  she 
drops  her  hand,  and  turns  to  watch  the  motion  of  theirs. 
At  "dish,"  a  difficult  word,  she  begins  again  to  write  with 
them,  and  the  sentence  is  carefully  finished  with  the  period. 

"  Take  your  pencils  and  write." 


*This  side  position  has  been  criticised,  and  justly,  as  raising  the  right 
shouMiT  lii^'ln  r  Hum  DH-  left,  and  preventing  the  free  movement  of  the  arm. 
It  was  probably  used  in  this  school  because  of  the  narrowness  of  the  desks. 


THE   FIRST  DAY  IN  SCHOOL.  31 

Thus  they  are  provided  with  work  for  the  next  ten  min- 
utes. All  this  time  the  new-comers  are  looking  on  and  tak- 
ing it  all  in,  while  the  trainer  has  been  distributing  the  new 
slates  and  pencils. 

The  teacher  now  turns  to  them  and  says,  in  her  gentle 
fashion: 

"  These  little  folks  may  take  their  slates  and  pencils  too." 

This  means  considerable  noise,  for  of  course  they  manage 
to  knock  every  corner  against  the  desk,  and  set  the  pencils 
to  rolling,  while  five  or  six  drop  and  break  the  very  first 
thing,  but  by  and  by  they  get  into  position,  and  look  up  to 
see  what  next. 

"All  of  you  may  make  on  your  slates  what  I  make  here," 
slowly  drawing  a  vertical  line,  eight  or  nine  inches  long,  on 
the  blackboard.  Some  begin  marking  at  once ;  others  simply 
sit  and  stare — first  at  her  and  then  at  the  board. 

The  teacher  now  leaves  the  board,  and  goes  down  and  up 
the  aisles,  looking  at  the  slates.  She  finds  that  they  have 
drawn  lines  ranging  from  half  an  inch  to  six  inches  in 
length,  at  all  angles,  and  of  every  degree  of  crookedness. 
Then  she  goes  again  to  the  board,  and  draws  a  horizontal 
line  about  the  same  length  as  the  other,  bisecting  it,  saying 
as  she  does  so,  "Now  do  this  on  your  slate."  Another  ex- 
amination of  the  slates,  with  just  about  as  satisfactory  re- 
sults, but  she  gives  the  small  artists  no  reason  to  suppose 
for  a  moment  that  she  isn't  perfectly  charmed  with  their 
drawings.  Smiling  benignantly  upon  them,  she  says: 
"  Make  me  just  as  many  of  these  on  your  slates  as  you  like," 
and  goes  over  to  examine  the  writing  of  the  older  pupils, 
leaving  most  of  the  little  people  quite  happy  and  very  busy. 
Two  or  three,  it  is  true,  put  the  ends  of  their  pencils  in  their 
mouths,  and  composedly  survey  the  rest.  While  the  teacher 
is  examining  the  writing,  the  trainer  is  passing  through  the 
first  two  aisles  with  a  box  of  wooden  toothpicks,  laying  a 
handful  on  each  desk  in  the  first  three  rows.  Now  the 


32         THE   "QUINCY  METHODS"  ILLUSTRATED. 

teacher  says  to  the  third  line  of  last  year's  pupils,  "Make 
me  as  many  things  as  you  can  out  of  two  sticks  ;"  to  the 
second,  "Make  me  everything  you  can  think  of,  and  use 
only  three  sticks ;"  and  the  trainer  walks  off  with  the  third 
line,  to  give  them  a  reading  lesson  at  a  blackboard  in  the 
rear  of  the  room. 

By  this  time  the  babies  have  begun  to  tire  of  making 
crosses  and  are  ready  for  something  else.  Two  lines  of  these 
are  given  splints,  eight  or  ten  apiece,  with  the  pleasant 
direction,  "Make  something  nice  for  me." 

As  they  have  no  idea  how  to  do  this,  the  teacher  sends  to 
each  of  the  new  children,  who  act  as  if  they  were  going  to 
try,  a  helper  from  among  her  last  term's  pupils,  selecting 
with  great  care  such  as  can  be  relied  upon  for  steadiness 
and  patience.  The  young  instructors,  proud  to  be  thus 
chosen,  leave  their  stick-laying,  and  sitting  beside  the  little 
new-comers  designated,  show  them  how  to  weave  the  splints 
into  forms,  with  a  tact  and  skill  that  many  an  experienced 
teacher  would  be  fortunate  in  possessing.  Leaving  them 
provided  with  something  to  look  at,  and  work  to  do  (if  they 
will),  she  stands  in  front  of  the  other  row  of  little  ones  and 
says,  "Turn !"  waving  her  hand  toward  the  right.  "  Stand ! 
Come  to  me."  They  cluster  around  her  in  an  irregular 
group  as  she  moves  back  with  them  to  her  table,  from 
which  she  takes  a  chromo,  about  fourteen  inches  long  by 
ten  inches  wide,  entitled  "The  Little  Mother."  She  stands 
holding  this  down  in  front  of  her  within  easy  range  of  their 
eyes.  The  little  people  press  forward  and  look  at  it. 

"What  have  I  here?"  is  her  first  query. 

"  A  picture,"  decides  the  boldest  of  the  group. 

•'A  picture  of  what?" 

"A  little  gurl,"  says  a  small  boy  with  a  decided  brogue. 

"What  else?"  pursues  the  teacher.  This  is  too  general, 
and  she  gets  no  rasponse.  "Some  of  the  little  girls  must 
look  sharply,  and  they'll  find  out  what  it  is." 


THE  FIRST  DA  Y  IN  SCHOOL.  33 

"She's  got  a  dolly!"  pipes  out  the  tiniest  woman  of  the 
group. 

"  Who  can  see  something  else?" 

"A  kittle?"— this  from  a  boy  with  an  old  face  and  un- 
happy expression. 

uYes,"  says  the  teacher,  who  is  now  waiting  to  see  if 
they  will  go  on  by  themselves. 

"  Some  fire,"  adds  a  girl. 

"  I  see  a  cover  on  it,"  irrelevantly  remarks  a  little  fellow, 
who  has  had  his  curly  head  close  to  the  picture. 

There  the  talk  stops.  After  a  moment's  waiting  the 
teacher  tries  to  start  the  ball  again  by  asking,  "Where  has 
she  put  the  dolly?" 

"She's  set  her  down,"  offers  a  boy,  who  seems  to  be  look- 
ing everywhere  but  at  the  picture. 

"Down  where?"  steadily  persists  the  teacher. 

"Eight  there;  can't  you  see?"  with  great  earnestness, 
pointing  his  dirty,  chubby  finger  at  the  doll  in  the  chromo. 

"Yes,  I  see;  but  what  is  she  sitting  on?"  No  answer.  All 
look  up  at  the  teacher  wonderingly,  and  then  back  at  the 
picture.  She  tries  again. 

"Is  she  sitting  on  the  floor?" 

"No,  she's  settin'  on  a  stool  jest  like  one  my  grandma 
has,"  announces  a  serious  little  fellow  who  has  been  intent 
on  the  scene  from  the  first. 

"You  mean  she  is  sitting  on  the  stool." 

There  is  another  general  uplifting  of  heads  at  this,  but 
nothing  is  said,  and  they  drop  their  eyes  again  upon  the 
chromo.  This  is  enough  for  a  beginning  in  thought  and  its 
expression,  and  the  teachei*  breaks  in  upon  their  study  by 
saying,  ' '  I  can't  let  you  see  the  picture  any  more  to-day, 
but  we  will  have  it  to  look  at  to-morrow.  I  shall  let  you 
find  your  seats  now,  and  you  may  try  to  make  me  a  fan 
with  some  splints  which  I  will  give  you." 

She  gives  out  splints  to  those  who  have  come  to  their 


34         THE   "QUINCY  METHODS"   ILLUSTRATED. 

seats,  transfers  the  small  teachers  from  the  second  division 
to  this,  and  then  takes  that  row  out  for  a  lesson  on  the 
picture.  Meantime  the  trainer  has  brought  back  the  first 
division  of  older  pupils  and  now  takes  the  second  line  to 
read,  while  those  who  have  just  returned  to  their  seats  lay 
sticks  by  fours.  When  all  this  has  been  done  the  helpers  are 
told  to  leave  the  splint-work  and  go  to  their  own  seats,  and 
the  teacher,  standing  in  front,  begins  to  sing,  accompanied 
by  the  children : 

"  Wandering  up  and  down  one  day, 
I  peeped  in  the  window  over  the  way; 

[They  point  toward  the  window.] 
And  drawing  his  waxed-ends  through  and  through, 

[Imitating  the  motion  of  sewing  shoes.! 
There  sat  a  cobbler  making  a  shoe." 

At  the  close  of  this,  each  stanza  of  which  is  accompanied 
by  appropriate  gestures,  they  sing  another  exercise  song, 
called  "The  Farmer."  Then  the  third  line  of  last  year's 
pupils  have  a  reading-lesson  with  the  trainer,  while  the  first 
and  second,  work  at  their  stick-laying.* 

The  teacher  takes  the  remainder  of  the  babies  out  to  the 
front  for  their  picture-lesson,  leaving  the  others  in  their 
seats  with  the  splints  and  their  small  assistants.  When 
this  is  done  the  teacher  passes  up  and  down  the  aisles,  look- 
ing at  and  praising  the  splint-work  and  the  stick-laying, 
while  the  small  workers  sit  with  folded  hands  watching  and 
listening.  Behind  her  comes  the  trainer  with  her  boxes, 
gathering  up  the  splints  and  sticks.  Then  the  teacher, 
standing  before  the  whole  class  and  holding  up  two  blocks, 
says,  "Tell  me  what  I  show  vou."  The  older  children 
answer,  "Two  blocks!" 


*The  children  are  not  satisfied  with  less  than  two  periods  with  the  stick- 
laying;  and  the  splint-work  being  so  complete  a  novelty  to  the  new  pupils,  it 
Fould  not  be  wise  to  give  them  less  than  twenty  minutes  to  play  with  the  splints. 


THE  FIRST  DAY  IN  SCHOOL.  35 

"I  want  you  to  raise  your  hands  before  you  speak 
again,"  admonishes  the  teacher,  with  gentle  firmness. 
"  I'll  call  upon  some  one." 

Picking  up  another  block  from  the  table,  and  holding  it 
beside  the  two  she  had,  "Who  wants  to  tell  me  what  I 
have  done  now?" 

The  hands  go  up  before  her  question  is  finished.    "Mary." 

Mary  rises,  and  says  glibly:  "You  had  two  blocks,  and 
you  put  one  with  it,  and  that  made  three  blocks." 

"You  may  tell  me  now  what  I  show  you,"  holding  up 
three  splints.  "Jimmie." 

"You  have  three  splints." 

"Now  what?    Nellie." 

"You  had  three  splints,  and  you  put  two  behind  you, 
and  now  you  have  one. " 

' '  Tell  me  no  w.    Maggie. ' ' 

"One,"  as  the  teacher  holds  up  a  splint,  "and  two,"  as 
the  teacher  takes  them  from  behind  her,  "are  three." 

"  Harry  may  clap  so  many  times,"  holding  up  two  splints. 
He  does  it. 

"Jimmie,  so  many  times,"  catching  up  three  blocks, 
"less  two,"  still  holding  the  three  blocks.  Jimmie  claps 
twice.  Then  the  hands  fly  up  in  a  great  flutter. 

"Was  that  right,  Susie?" 

"No'm." 

"  Can  you  do  it  right?" 

Susie  gives  a  big  clap. 

"Was  that  right,  Eichard?" 

The  boy  nods  his  head.  Not  sure  that  he  understands, 
the  teacher  says,  "You  may  come  up  here  and  tell  me 
what  I  asked  Jimmie  to  do."  Richard  comes,  takes  up 
three  blocks,  and  explains:  "You  told  him  to  clap  so  many 
times,  less  so  many,"  laying  down  two  of  the  blocks. 

"  How  many  claps  should  you  have  given,  Jimmie?" 

"One." 


36         THE  "  QUTNCY  METHODS"  ILLUSTRATED. 

"Yes.  I  am  going  to  tell  you  a  story.  If  an  old  hen  had 
three  chickens,  and  one  was  drowned,  how  many  would  she 
have  left.  Patrick  may  tell  me."  . 

"Two." 

"Yes.  Now  Patrick  may  come  out  here  and  tell  us  a 
story  about  anything  he  likes." 

Patrick  hesitates  a  little,  then  marches  out,  red-faced  but 
smiling,  and  after  standing  a  moment  to  collect  his  thoughts 
says,  with  that  inimitable  Irish  inflection,  "If  I  had  two 
ponies,  and  my  fayther  bought  me  another  one,  how  many 
would  I  have  thin?"  The  older  children  put  up  their  hands, 
and  he  calls  out,  "Ellen." 

"  Three  ponies  I" 

"  Very  well!"  pronounces  the  teacher.  "Now  Ellen  may 
tell  us  one." 

Ellen  blushes,  but  comes  out  promptly  and  says,  "I  had 
two  doll  carriages,  and  my  auntie  gave  me  another;  how 
many  had  I?" 

Again  the  hands  are  all  up.  She  looks  at  them  gravely 
for  an  instant,  then  calls  up  Mikie  to  answer.  He  replies, 
"Three!" 

"  Well,  Mikie,  what  is  your  story?"  asks  the  teacher. 

Mikie  has  a  mischievous  twinkle  in  his  eye  and  begins, 
4  *  My-f  ather-had  -  three  -  goats-and-one-run  -  away -how-many- 
had-he-then-Sammy  ?" 

All  this  in  a  breath,  pouncing  down  upon  Sammy  before 
he  had  time  to  get  his  ideas  together,  much  less  get  his  hand 
up.  But  Sammy  springs  to  his  feet  instantly  with  a  broad 
grin  on  his  face,  and  presently  answers,  "Three!" 

"  Well,  Sammy," remarks  the  teacher,  "we  will  hear  your 
story  another  day ;  we  haven't  time  this  afternoon,  for  I  am 
going  to  show  you  something.  I  want  you  to  look  at  it,  and 
when  you  see  anything  to  tell  me,  you  may  raise  your 
hand." 

She  takes  from  a  box  on  her  table  a  stuffed  dove  and 


THE  FIRST  DA  Y  IN   SCHOOL.  37 

holds  it  up  before  the  class.  The  moment  their  eyes  fall 
upon  it  the  older  ones  are  ready,  and  their  hands  are  in  the 
air  instantly. 

"  John,  what  do  you  say?" 

" I  see  a  dove!" 

"Nellie." 

"I  see  two  eyes!" 

"Harry." 

"I  see  two  wings!" 

The  teacher  points  to  a  child,  who  affirms  "  The  dove  has 
two  feet, "  and  then  in  rapid  succession  follow,  as  fast  as  she 
can  call  upon  the  children: 

"The  dove  has  feathers." 

"  The  dove  has  a  breast." 

"The  dove  has  a  tail." 

"  The  dove  has  a  head." 

"  The  dove  has  a  neck." 

"It  has  a  mouth." 

Like  lightning  comes  the  question,  "What  about  its 
mouth — is  it  like  yours?" 

Johnnie,  venturing,  "It  is  a  hard  mouth." 

"Yes,  you  may  come  and  show  me  its  mouth." 

Johnnie  goes  and  takes  hold  of  the  beak. 

"Is  that  its  mouth?" 

"  I  can  open  it  and  make  its  mouth." 

"  What  is  that  you  had  hold  of?" 

A  little  girl  raises  her  hand  and  says,  "It's  the  bill."  The 
teacher  looks  at  the  bird,  and  remarks  slowly,  "It  isn't 
quite  like  the  duck's  bill." 

Johnnie  answers  briskly,  "  No,  the  duck's  bill  is  flat." 

"And  how  is  this,  Mikie?" 

Johnnie  retires  and  Mikie  remarks  critically,  "It's  kinder 
round  and  kinder  pointed." 

"Then  we  will  call  this  a  beak,"  announces  the  teacher. 
After  a  pause  (to  let  the  idea  sink),  she  continues:  "I  am 


38         THE   "  QUINCY  METHODS"   ILLUSTRATED. 

going  to  call  upon  somebody  to  tell  me  the  parts  of  the  dove 
to  which  I  point." 

There  is  great  fluttering  of  hands  at  this,  which  the 
teacher  silently  rebukes  by  calling  upon  the  one  child 
whose  upraised  hand  is  quiet.  " Carrie!"  The  child  rises, 
stands  by  her  seat,  and  watching  intently  the  teacher's 
finger,  calls  out  as  it  moves  over  the  dove,  "  Beak,  head, 
neck,  back,  tail,  breast,  legs,  feet." 

"That  will  do."  The  child  sits.  "  There  is  something 
more  that  nobody  has  told  me  about"— dead  silence,  during 
which  every  eye  is  travelling  over  the  dove,  trying  to  think 
what  it  can  be. 

"  This  is  what?"  queries  the  teacher. 

"  The  beak !"  in  a  chorus. 

"  And  what  did  you  say  this  was?" 

"The  head!" 

"You  may  put  your  hands  on  your  head."  It  is  done. 
Some  of  the  babies,  who  have  all  this  time  been  listening 
with  very  open  countenances,  put  their  hands  on  their 
heads  too.  The  teacher  goes  on,  "  You  may  put  your  hands 
on  the  top  of  your  head.  We  will  call  that  the  crown.  Who 
wants  to  find  the  crown  of  the  dove's  head?"  Obviously  all 
do,  for  the  air  is  full  of  hands.  "  Jimmie,"  picking  again 
for  a  steady  member. 

Jimmie  places  his  hand  softly  on  the  dove's  head. 

"  Tell  me  what  you  have  found." 

"I've  found  the  crown  of  the  dove's  head." 

"You  may  all  put  your  hand  on  the  back  of  your  head. 
Nellie  may  find  the  back  of  the  dove's  head."  When  the 
little  girl  has  done  this,  the  teacher  says  deliberately,  "Be- 
tween your  mouth  and  the  crown  of  your  head,  just  below 
the  crown,  what  is  there?" 

"The  forehead!"  again  in  a  chorus. 

"Find  the  dove's  forehead,  Maggie." 

The  girl  is  a  little  doubtful,  and  placing  her  forefinger 


THE  FIRST  DA  Y  IN  SCHOOL.  .    39 

near  the  beak,  she  moves  it  slowly  upward,  with  half  an  eye 
on  the  class  to  see  when  they  think  it  is  right.  As  for  them, 
every  eye  is  attentive,  every  child  alert. 

"Now  all  put  your  hand  on  your  throat."  It  is  done 
with  alacrity.  "Find  for  me  the  dove's  throat,  Willie." 

After  this  the  teacher  resumes,  "That  will  do  for  to-day; 
but  to-morrow  I  will  let  some  one  of  you  take  the  dove,  and 
beginning  at  the  point  of  the  beak,  you  may  put  your  finger 
the  same  as  I  did,  and  tell  the  parts  as  you  touch  them." 
The  teacher  makes  this  announcement  a  little  slowly,  and 
quite  deliberately  puts  the  bird  away,  knowing  very  well 
that  every  child  in  the  older  class  is  mentally  enumerating 
the  parts  of  the  dove  just  at  that  moment. 

"Now"  (briskly),  "let  us  get  ready  to  go  home ;  and  be- 
fore we  go  I  want  you  to  think  hard  of  something  you  sa^ 
when  you  were  coming  to  school  this  afternoon." 

This  gives  them  a  fresh  start,  and  pretty  much  everybody 
(among  the  older  pupils)  is  ready  with  a  speech.  Here  artf 
some  of  them : 

"  I  saw  a  man  in  a  wagon." 

"I  saw  a  red  horse." 

"  I  saw  a  green  post." 

"  I  saw  a  man  selling  oranges." 

"  I  saw  a  cow  over  in  Mr.  C 's  field." 

"I  saw  some  boys  and  girls." 

"I  saw  a  lantern." 

"  Where  was  it?"  is  the  teacher's  sudden  question. 

"  It  was  hanging  on  the  fence  where  the  men  were  fixing 
the  road."  (Along,  well-constructed  sentence.) 

"  I  think  it  was,"  comments  the  teacher.  "Who  else  saw 
something?" 

"I  saw  a  man  painting  a  house." 

"  I  saw  a  woman  with  a  baby  carriage." 

"Anything  in  it?"  queries  the  teacher. 

"Yes,  two  babies." 


40         THE   "QUINCY  METHODS"   ILLUSTRATED. 

This  was  more  than  she  expected,  and  with  an  amused 
expression  on  her  face  she  asks,  "What  more  did  you  see?" 

"I  saw  a  big  dog." 

"I  saw  a  robin  on  a  tree." 

"I  saw  a  woman  with  a  baby." 

"I  saw  little  Nellie  J ." 

"I  saw  a  bonfire." 

"I  saw  a  train  of  cars." 

"  So  did  I !"  agrees  the  teacher. 

"I  want  you  to  look  when  you  are  coming  to  school  to- 
morrow morning,  all  the  little  people  too"  (winningly),  "and 
see  if  you  can  find  something  to  tell  me  about,  that"  (im- 
pressively) "can— walk.  The  first  row  may — Face!  Stand! 
Pass !  The  second !"  and  thus  through  all  the  rows  in  the 
same  order.  As  before  they  get  ready  to  go,  and  for 
a  moment  while  they  sit  quite  content,  waiting  for  the 
signal,  the  teacher  stands  and  looks  at  them  once  more,  as 
if  questioning  in  her  own  mind,  "Are  they  happier  and 
better  for  these  few  hours?"  Then  she  calls  the  first  row, 
"Face!  Rise!  Pass!"  and  line  after  line  the  eighty  tiny 
men  and  women  file  out.  When  the  last  little  figure  disap- 
pears through  the  doorway  the  first  day  at  school  is  ended. 

Notes  and  Comments. 

For  the  benefit  of  inexperienced  teachers,  the  program  for 
the  afternoon  of  the  first  day  (none  being  needed  for  the 
morning)  is  given,  followed  by  the  scheme  of  work  for  the 
whole  of  the  second  day.  These  are  not  intended  as  models 
in  it  rather  as  types. 

It  will  be  observed  that  the  general  exercises  come  first, 
last,  and  in  the  middle.  First,  in  order  to  lead  the  child 
gently  and  easily  from  play  to  work.  They  come  in  the 
middle  to  rest  the  little  people,  who  have  not  yet  gained 
the  power  of  continuous  work.  They  are  brought  in  at  the 
end,  1  >ocause  the  babies  (the  pupils  of  our  primary  schools 


THE   FIRST  DA  Y  IN  SCHOOL.  41 

are  really  little  more)  are  too  tired  to  work  except  under  the 
stimulus  of  something  very  attractive. 

The  pupils  of  last  year  are  seated  as  they  are  grouped, 
and  their  stick-laying  is  graded  accordingly.  The  following 
are  a  few  of  the  forms  made  by  the  children : 


(and  their  opposites  in  every  variety  of  position). 

It  will  be  also  observed  that  the  teacher  devotes  herself 
mainly  to  the  beginners,  leaving  the  older  pupils  to  the 
trainer.  This  she  continues  for  a  few  days,  till  the  little 
ones  get  somewhat  acquainted  with  their  new  surroundings, 
and  then  gradually  introduces  the  trainer  to  them,  giving  less 
and  less  of  her  own  time,  until  finally  she  divides  her  atten- 
tion equally  between  the  two  classes. 

If  the  steps  taken  in  the  teaching  during  this  first  day 
seem  short,  it  must  be  borne  in  mind  that  they  are  to  be 
taken  by  little  feet,  and  that  it  is  better  to  make  the  ad- 
vancement slow  and  sure,  than  to  have  to  go  back  over 
ground  once  trodden— a  most  demoralizing  thing  for  both 
teacher  and  pupil. 


42         THE   "QUINCY  METHODS"  ILLUSTRATED. 


FIRST  DAY—  AFTERNOON. 

1 

n 

Fifth  Row. 

I 

LAST  YEAR'S  PUPILS. 

Third  Row. 

Second  Row. 

! 

1 

MOfcywoocoeowweo 

i  £  *  «  ?.  i  ^  s  ?.  « 


PROGRAM. 


43 


§ 

I 


i  i    I 


44         THE  "QUINCY  METHODS"   ILLUSTRATED. 


SECOND  DAY— AFTERNOON. 

Time. 

1:50-2:00.— Teacher  Marks  the  Eoll.    Cleaning  of  Slates  by 

the  Children. 
2:00-2:10.— General  Exercise.     Singing,  "Clock,"  "Pony," 

"Sing  a  Song  of  Sixpence." 
2 :10-2 :13.  —Drill  in  Phonics.     Chart. 
2:13-2:20. — General  Exercise.     Conversation  Lesson.     Day 

of  the  Week,  etc. 

2:20-2:30. — A  Language  Lesson  from  a  Picture. 
2:30-2:40.— First  Eow.      Writing.      Copying  Words  from 

Blackboard. 

Second  Eow.    Writing.    Tracing  on  Blackboard. 
Third  Eow.    A  Language  Lesson  by  the  Trainer. 
Fourth  Eow.    A  Picture  Lesson  by  the  Teacher. 
Fifth  Eow.    Shoe-pegs.    Busy- Work. 
Sixth  Eow.    Shoe-pegs.    Busy-Work. 
2 :40-2 : 50. —General  Exercise  in  Language.    Eecalling. 
2:50-2:55.— Eunning  Eecess. 

2 :55-3 :05.— General  Exercise.    A  Story  by  the  Teacher. 
3 :05-3 :15. — First  Eow.    Number  Lesson  by  the  Trainer. 
Second  Eow.    Splints.    Busy- Work. 
Third  Eow.    Sliced  Pictures  (home-made).   Busy- 
Work. 

Fourth  Eow.    Shoe-pegs.    Busy- Work. 
Fifth  Eow.    A  Picture  Lesson  by  the  Teacher. 
Sixth  Eow.    Shoe-pegs.    Busy -Work. 

3:15-3:25. -Singing,  "  Little  Miss  Muffit,"  "Little  Boy  Blue." 
3:25-3:35.— First  Eow.    Make  a  Picture  of  "Miss  Muffit." 

Busy-Work. 

Second  Eow.    Number  Lesson  by  the  Trainer. 
Third  Eow.     Make  a  Picture  of  "Little  Boy 

Blue."    Busy-Work. 
Fourth  Eow.    Shoe-pegs.    Busy -Work. 


PROGRAM.  45 

Time. 

Fifth  Eow.    Shoe-pegs.    Busy- Work. 

Sixth  Eow.    A  Picture  Lesson  by  the  Teacher. 
3:35-3 :40.  — Examining  Busy- Work.     Collecting  Materials. 
3 :40-3 : 50.  —General  Exercise.     Bird  Game. 
3 :50-4 :00.— Dismissal. 


SECTION  SECOND. 


I.  Body  Lesson. 
II.  Test  Lesson  in  Number. 

III.  An  Impromptu  Lesson  on  the  Horse. 

IV.  Lessons  on  Color. 

V.  Lessons  in  Direction. 
VI.  First  Lesson  in  Dimension. 
VII.  Plant  Lesson. 
VIII.  Lesson  on  Hills. 
IX.  Lesson  on  Granite. 
X.  First  Lessons  in  Form. 
XI.  Lesson  on  Snow. 


In  this  Section,  are  presented  specimens  of  the 
different  kinds  of  lessons  given  preparatory  to 
Reading,  in  the  lowest  grade  of  the  Quincy  Schools. 
They  are  intended  to  train  the  senses,  arouse 
thought,  and  develop  expression.  These,  it  must 
be  remembered,  are  not  consecutive  lessons ;  they 
were  taken  down  at  different  times,  in  different 
schools,  during  the  first  six  weeks  of  the  term. 


CHAPTEE  L 


A  BODY  LESSON. 

GENERAL    EXERCISE. 

PURPOSE  OF  THE  LESSON.— General:  To  combine  Physical 
Exercise  and  Physiology.  Particular :  To  teach  the  joints 
objectively. 

PREPARATION  MADE  BY  THE  TEACHER.  —Making  the  analysis 
and  inventing  the  device. 

PREPARATION  MADE  BY  THE  PUPILS.— All  the  bodily  exercise 
they  had  previously  had,  and  all  that  they  knew  concerning 
the  power  and  use  of  hinges. 

PLAN  OF  THE  LESSON.—  Begin  with  some  general  movements. 
Lead  the  pupils  to  think  of  the  uses  of  the  different  parts  of 
the  body,  by  asking  what  eyes,  ears,  etc.,  are  for.  Have 
the  children  show  some  joint,  and  ask  what  they  can  do 
with  it.  Tell  them  to  move  it.  Ask  them  to  find  other 
joints.  Call  their  attention  to  the  hinges  of  the  door.  Com- 
pare the  arms  to  the  door  and  the  body  to  the  door-post, 
and  so  get  the  idea  of  the  hinges  of  the  body.  Call  upon 
them  to  name  several,  and  tell  the  word  joint.  Close,  by 
having  the  pupils  move  different  joints  when  called  for. 

THE  LESSON. 

[Two  lines  of  children  have  just  come  back  from  recitation 
with  the  teacher  and  trainer.  The  Busy- Work  has  been 
examined,  the  materials  collected,  and  now  all  sit  looking 


50         THE   "  QUINCY  METHODS"  ILLUSTRATED. 

expectantly  at  the  teacher,  who  stands  in  front,  holding 
her  bell.] 

Teacher.  To-day  we  have  learned  what  the  bell  says. 
Now  open  your  ears;  the  bell  is  going  to  speak  to  you. 
What  will  it  say?  Eddy.  [This  is  addressed  to  a  restless 
little  fellow,  of  whom  nothing  is  visible  but  a  pair  of  short 
legs,  encased  in  dirty,  ragged  trousers,  and  two  muddy  bare 
feet,  the  rest  of  the  child  being  under  the  seat.  This  per- 
sonal remark  brings  him  right  side  up  suddenly,  and  he 
falters  out  with  a  very  red  face — ] 

Eddy.    To— to— fold  the  hands. 

Teacher  [calmly  assents].  Yes.  You  may  fold  yours 
and  show  us  how.  [Eddy,  glad  to  get  out  of  his  embarrassing 
positions  (both  of  them)  so  easily,  assumes  the  proper  atti- 
tude and  his  most  virtuous  expression,  and  is  good,  for  the 
rest  of  the  lesson.  The  teacher  waits  impressively  for  this 
to  be  done,  and  the  disciplinary  hint  to  be  taken  by  two  or 
three  other  lively  youngsters,  and  then  resumes :]  You  may 
all  hold  up  your  hands.  [A  great  show  of  small  and  un- 
washed members.]  Raise  them  high  in  the  air;  make  the 
arms  straight ;  stretch  them,  and  see  how  near  to  the  ceiling 
you  can  come.  [Mighty  efforts  on  the  part  of  the  children.] 
Spread  your  fingers  wide  apart ;  try  to  make  them  long— as 
long  as  mine.  [Apparently  this  is  done  by  means  of  the 
facial  muscles,  to  judge  by  the  contortions  of  countenance 
visible.]  Put  your  hands  on  your — [putting  her  hands  upon 
her  shoulders ;  the  hands  go  up] ;  on  your— [putting  her  hands 
upon  her  hips;  the  hands  go  down];  on  your— [putting  her 
hands  upon  the  top  of  her  head ;  the  hands  are  all  on  the  tops 
of  the  heads].  Does  any  one  know  what  we  call  the  top? 

The  crown  [declares  a  bright  little  girl]. 

[Here  the  teacher  stops  working  herself,  and  dictates  to 
the  children.] 

Teacher.  Put  your  hands  on  the  back  of  your  head.  On 
your  ears.  How  many? 


A   BODY  LESSON.  5  I 

Children  [in  chorus].    Two. 

Teacher.    What  are  they  for? 

Children  [in  a  general  response].     To  hear  with. 

Teacher.    Touch  your  eyes.    How  many? 

Children.    Two. 

Teacher.    What  are  they  for? 

Children.    To  see  with. 

Teacher.    Pinch  your  cheeks.    How  many? 

Children.    Two. 

Teacher.    How  many  lips? 

Children.    Two. 

Teacher.    What  are  they  for? 

Children.    To  eat  with.     To  talk  with. 

Teacher.  What  shall  we  do  with  our  lips  when  they  talk 
too  much? 

Children.    Hold  them  together. 

Teacher.  Do  it  now.  [This  is  hard  work,  for  the  laugh 
wants  to  come  out;  so  in  a  moment  the  teacher  continues.] 
Show  me  your  wrists.  What  can  you  do  with  them? 

A  Voice.    I  can  move  them. 

Teacher.  All  move  them.  All  put  your  hands  on  the 
place  that  moves.  All  put  your  hands  on  some  other  part 
of  the  body  that  can  move.  [This  is  great  fun.  Each  child 
tries  to  find  a  different  spot,  and  several  put  their  hands 
upon  their  lips.]  John,  where  are  your  hands? 

John.    On  my  shoulders. 

Teacher.    Maggie,  where  are  yours? 

Maggie.    On  my  elbows. 

Teacher.    Mary,  yours  are  where? 

Mary.    On  my  knees. 

Teacher  [swinging  the  door  back  and  forth].  See  me 
move  this.  It  is  a  very  heavy  door,  yet  I  can  make  it  go 
away  back  here  easily.  If  I  had  to  lift  it  back  I  should  need 
all  of  you  to  help  me ;  but  this  door-post  [touching  it]  helps 
me  now.  We  wiLl  all  move  our  arms  just  as  I  move  the 


52         THE   "QUINCY  METHODS"  ILLUSTRATED. 

door  back  and  forth.  [Great  giggling  at  this,  and  many 
vigorous  arms,  with  a  few  limp  ones.  Every  one  quiets  as 
the  teacher  speaks.]  Show  me  what  you  would  call  the 
door-post.  [The  children  in  energetic  pantomime  signify 
their  bodies.]  What  holds  the  real  door  to  the  door-post? 

Children  [promptly].    Hinges. 

Teacher.  Carrie  may  put  her  fingers  on  one  of  the 
hinges.  What  do  you  suppose  holds  your  arm  to  your 
body? 

Children  [in  chorus,  drawing  the  inference  after  an 
instant's  hesitation].  A  hinge ! 

Teacher.  Put  your  hand  on  the  hinge.  [The  children  put 
their  hands  on  their  shoulders.]  See  if  you  can  find  another 
hinge  to  show  me.  [The  children  have  considerable  amuse- 
ment at  the  new  name,  and  begin  to  find  hinges  all  over 
themselves.]  Mary  may  tell  me  where  she  has  found  a 
hinge. 

Mary.    In  my  elbow. 

Teacher.    Tommy,  where  is  yours? 

Tommy.    In  my  neck. 

Teacher.    Ella,  what  have  you? 

Ella.    My  finger-hinge. 

Teacher.    And  yours,  Susie? 

Susie.    My  knee-hinge. 

Teacher.  Yes.  Let  us  call  them  joints.  You  may  all 
move  the  elbow-joints,  both  of  them.  [Much  moving  of 
forearms.]  You  may  move  the  neck- joint.  [The  heads  all 
wag  vigorously.]  You  may  move  the  shoulder- joints. 
[They  make  hard  work  of  this,  some  moving  the  shoulders 
up  and  down,  some  swinging  the  arms  to  and  fro.]  You 
may  move  the  knee-joints.  [This  is  still  more  difficult,  and 
some  have  hardly  discovered  how  to  do  it,  when  the  teacher 
says :]  You  may  move  the  finger-joints,  all  of  them.  [The 
;iir  is  full  of  wriggling  little  hands.]  You  may  move  the 
thumb-joints.  [Here  the  tongues  seem  to  be  of  great  ser- 


A   J30DY  LESSON.  53 

vice,  moving  sympathetically  from  side  to  side,  as  the 
thumbs  are  bent.]  You  may  all  shut  your  eyes  and  take  a 
nap.  I'll  strike  my  bell  when  you  are  to  wake  up.  [In  a 
second  the  laughing  faces  are  down  on  the  desks,  and  the 
room  is  still  enough  to  hear  the  clock  tick.  It  ticks  once, 
twice,  the  teacher  strikes  her  bell,  the  heads  come  up,  and 
the  regular  work  begins  again.] 

Notes  and  Comments. 

The  device  employed  is  happy  and  the  disciplinary  hint 
excellent. 


OHAPTEE  II. 

A  TEST  LESSON  IN  NUMBER. 

PURPOSE  OF  THE  LESSON.— This  is  one  of  the  first  lessons 
given,  and  is  not  intended  to  teach  Number,  but  to  find  out 
what  the  children  already  know,  of  this  limitation.  It  is 
preparatory  to  the  regular  Number  Work.  It  is  also  a  great 
aid  in  the  first  grouping  of  the  new  class,  for  it  reveals  each 
child's  mental  grasp,  and  quickness  of  apprehension,  in  one 
direction  at  least. 

PREPARATION  MADE  BY  THE  TEACHER.— However  simple  this 
lesson  may  appear,  it  has  a  definite  plan,  which  has  been 
clearly  thought  out  beforehand  by  the  teacher,  whose  analy- 
sis is  given  here.  The  objects  used  have  also  been  thought- 
fully chosen,  care  being  taken  in  their  selection  not  to  present 
too  attractive,  or  unfamiliar  things,  lest  the  attention  of  the 
pupils  be  drawn  from  the  idea  of  Number  to  the  contempla- 
tion of  the  objects  themselves. 

PREPARA  TION  MADE  BY  THE  PUPILS.— Of  course  no  preparation 
as  such  has  been  made  by  the  little  children  five  and  six  years 
of  age,  to  whom  this  lesson  is  given,  and  yet  in  one  sense, 
every  limitation  of  things  as  to  how  many,  which  they  have 
ever  made  has  helped  them  in  this.  But  henceforth  they 
will  continue  these  limitations  consciously,  instead  of  un- 
consciously, as  most  of  them  have  previously  done. 

PLAN  OF  THE  LESSON.— let.  Show  a  number  of  things,  and 
let  the  pupils  find  the  same  number. 

Test.    To  see  if  they  know  the  number. 


A    TEST  LESSON  IN  NUMBER.  55 

2d.  Call  for  a  number  of  things  by  name. 

Test.    To  see  if  they  know  the  name  of  the  number. 

3d.  Show  a  number  of  things,  and  ask  them  to  tell  me 
how  many. 

Test.  To  see  if  they  know  both  the  number  and  the  name 
of  the  number. 

4th.  Take  the  children  out  of  sight  of  the  objects  and  then 
ask  them  to  bring  me  a  number  of  things. 

Test.  To  see  if  they  can  recall  both  the  number  and  the 
name  of  the  number. 

5th.  Incidentally  to  test  at  every  step  their  power  to  sepa- 
rate and  combine  numbers. 

THE  LESSON. 

[The  teacher  seats  herself  at  the  end  of  the  number  table, 
which  is  in  the  back  part  of  the  room,  and  the  children  stand 
around  it.  On  the  table  are  a  pile  of  blocks,  a  bundle  of 
splints,  some  horse-chestnuts,  some  shells,  a  few  spools,  a 
package  of  toothpicks,  a  handful  of  pebbles,  a  box  of  beans, 
a  pile  of  maple  leaves,  and  a  bunch  of  buttercups. 

Teacher  [Holding  up  two  maple  leaves].  You  may  find 
me  so  many  leaves.  [Children  each  take  two  leaves.] 

Teacher.    Maggie  may  tell  me  what  she  has. 

Maggie.    Two. 

Teacher.    Two  what? 

Maggie.    Two  leaves. 

Teacher.  Tell  it  to  me  in  a  nice  little  story.  [Maggie  only 
stands  and  stares.] 

Teacher.    What  have  you? 

Maggie.    Two  leaves  [again]. 

Teacher.    Then  tell  me  that  you  have  two  leaves. 

Maggie.    I  have  two  leaves. 

Teacher.  I  want  all  the  little  children  to  tell  me  the  whole 
story  when  I  ask  you  what  you  have.  Somebody  else  may 
tell  me  a  story.  Johnnie. 


OF  THK 

''UNIVERSITY! 


56        THE    "QUINCY  METHODS"   ILLUSTRATED. 

Johnnie.    I  have  two  leaves. 

Teacher.  You  may  all  lay  your  leaves  down  on  the  table. 
[Teacher  takes  up  two  horse-chestnuts.]  You  may  all  do  as 
I  do.  What  has  Jennie? 

Jennie.    Two  horse-chestnuts. 

Teacher.  Who  can  tell  me  the  whole  story?  Carrie,  can 
you? 

Carrie.    I  have  two  horse-chestnuts. 

Teacher.  Now  put  them  back  on  the  table.  Harry,  you 
may  hand  me  two  blocks,  and  Mary  may  give  me  one  block. 
[They  do  as  she  tells  them.]  Can  anybody  tell  me  what  I 
have?  Susie. 

Susie.    Three. 

Teacher.    Three  what?    I  want  the  whole  story. 

Susie.    Three  blocks. 

Teacher.    Who  has  three  blocks? 

Susie.    You  have. 

Teacher.    Now  who  will  tell  me  the  whole  story?    Mary. 

Mary.    You  have  three  blocks. 

Teacher.  You  may  all  take  two  beans.  [Teacher  waits 
till  they  have  done  so  and  then  says :]  You  may  take  enough 
more  to  make  three.  [Two  or  three  reach  at  once  for  one 
more  bean,  and  the  rest,  all  but  three,  imitate  them.  These 
three  stand  holding  their  two  beans,  not  knowing  what  else 
to  do.  Teacher  says  to  the  three  who  don't  know:]  How 
many  beans  have  you? 

Jimmie  [answering].    Two. 

Teacher.    I  want  you  to  have  three. 

[Jimmie  reaches  out  and  gets  one :  the  other  two  have  been 
watching,  and  now  they  do  the  same.*] 

Teacher.  Somebody  may  tell  me  the  story  about  what  you 
have  in  your  hand. 


*  Evidently  three  children,  Jlmmle,  Timmle,  and  Maggie,  out  of  this  group  of 
ten,  do  not  know  three. 


A    TEST  LESSON  IN  NUMBER.  57 

Theresa.    I  have  three  beans. 

Teacher.  You  may  put  the  beans  down,  and  take  two 
pebbles :  take  enough  more  to  make  three.  [The  three  before 
mentioned  are  the  last  to  get  their  pebbles,  and  only  do  it  by 
watching  the  rest  and  imitating.] 

Teacher.  Timmie  [one  of  the  three]  may  tell  me  what  he 
has  [taking  hold  of  his  hand]. 

Timmie.    I  have  three  little  stones. 

Teacher.     [Nodding  toward  his  hand].     Where  ? 

Timmie.    In  my  hand. 

Teacher.  [Holding  up  three  buttercups.]  Carrie  may  tell 
me  what  I  have. 

Carrie.    You  have  three  flowers. 

Teacher.    What  kind  of  flowers? 

Carrie.    Yellow  flowers. 

Teacher.    What  kind  of  flowers  does  Jennie  call  them? 

Jennie.    Pretty  flowers. 

Teacher.    What  does  Johnnie  call  them? 

Johnnie.    Buttercups. 

[Teacher  lays  down  the  buttercups  and  picks  up  two 
spools.] 

Teacher.    Theresa,  tell  me  what  I  have. 

Theresa.    Two  spools. 

Teacher.    Now  how  many?    [Taking  up  one  more.] 

Theresa.    Three  spools. 

Teacher.    Maggie,  tell  me  what  I  have? 

Maggie.    You  have  three  spools. 

Teacher.    Jennie,  what  have  I? 

Jennie.    One  block. 

Teacher  [takes  up  two  more].    Now  tell  me. 

Jennie.    Three  blocks. 

Teacher.    Timmie,  tell  me  what  I  have. 

Timmie.    Two  buttercups. 

Teacher.    Jimmie. 

Jimmie.    One  shell. 


58         THE    "QUINCY  METHODS"   ILLUSTRATED. 

Teacher.    Susie. 

Susie.    Three  spools. 

Teacher.    Mary. 

Mary.    Two  sticks.     [Splints.] 

Teacher.    Harry. 

Harry.    Three  horse-chestnuts. 

Teacher.  We  will  go  away  from  the  table.  [Teacher 
moves  her  chair  about  six  feet  from  the  table,  and  motions 
the  children  to  gather  around  her.]  I  am  going  to  have  you 
bring  me  something  from  the  table  that  I  want.  Mary  may 
bring  me  three  spools.  [She  does  so.]  Maggie  may  bring 
me  three  blocks.  [She  goes  to  the  table,  stands,  and  fingers 
the  blocks,  but  apparently  doesn't  know  what  to  do.]  If 
you  can't  bring  me  three,  you  may  bring  me  two.  [Maggie 
brightens  at  this,  picks  up  one  in  each  hand,  and  drops 
them,  with  a  sigh  of  relief,  in  the  teacher's  lap.]  Harry 
may  bring  me  three  horse-chestnuts.  Carrie,  bring  me  three 
shells.  Jimmie,  can  you  get  me  three  beans?  [Jimmie  runs 
to  the  table  and  comes  back  with  two.] 

Teacher.    Susie,  is  he  right? 

Susie.    No ;  you  told  him  to  get  three. 

Teacher.    How  many  did  you  bring  me,  Jimmie? 

Jimmie.    Two. 

Teacher.  Can  you  get  me  three?  [He  drops  the  two,  and 
goes  and  gets  one  more.] 

Teacher.    How  many  have  you  brought  me  this  time? 

Jimmie.    One. 

Teacher.  But  I  wanted  three.  [He  picks  up  the  two  he 
brought  first,  and  puts  them  with  the  one  in  the  teacher's 
hand.] 

Teacher.      Jennie     may    get     me     three    buttercups.* 

*  It  la  noticeable  that  some  of  the  children  seem  to  know  at  once  what  they  are 
going  to  get,  and  gather  the  things  tip  all  together,  showing  that  they  recognize 
the  number  as  a  whole;  while  others  pick  them  up  one  by  one,  obviously  count- 
ing as  they  do  so. 


A    TEST  LESSON  IN  NUMBER.  59 

Johnnie,  bring  me  three  sticks.  Theresa,  get  me  three 
leaves.  Jimmie,  bring  me  three  spools.  That  will  do.  We 
will  carry  these  things  back  to  the  table,  and  then  you  may 
go  to  your  seats  and  make  me  two  of  each  of  these  things 
we  have  been  talking  about,  on  your  slates.  [Some  catch  up 
the  blocks,  pebbles,  etc.,  and  put  them  on  the  table,  but 
others  do  nothing.  One  bean  is  left  on  the  teacher's  lap, 
and  the  teacher  points  toward  it  and  motions  to  Maggie, 
who  takes  the  hint  and  the  bean  and  puts  the  latter  on  the 
table.] 

Notes  and  Comments. 

This  entire  lesson,  including  the  passing  out  and  back  to 
the  seats,  has  taken  just  seven  minutes.  The  teacher's 
speech  has  been  brisk,  her  manner  alert,  and  the  children, 
as  a  matter  of  course,  have  moved  and  spoken  in  like  fashion, 
except  when  they  did  not  know  what  to  do,  and  then  the 
teacher  waited  patiently  for  them.  The  celerity  of  action 
of  the  lesson  is  its  best  point,  for  next  to  accuracy,  rapidity 
of  calculation  is  the  thing  aimed  at  in  all  Number  Work. 

Again,  the  opportunity  this  study  (Arithmetic)  gives  for 
training  in  expression  has  not  been  lost,  the  teacher  having 
here  begun  the  teaching  of  correct  and  concise  language. 
Having  the  children  draw  two  of  the  blocks,  splints,  etc.,  is 
a  happy  device  to  make  a  change  in  the  work,  and  yet  keep 
the  idea  of  number  still  in  their  consciousness,  thus  deepen- 
ing the  impression  of  this  limitation,  already  made. 


OHAPTEE  III. 

AN  IMPROMPTU  LESSON  ON  THE  HORSE. 

GENERAL    EXERCISE. 

PURPOSE  OF  THE  LESSON.— Primarily,  to  please  the  pupils. 
Secondarily,  to  prepare  for  the  study  of  Zoology.  Inci- 
dentally, to  teach  language  and  cheerfulness. 

PREPARATION  MADE  BY  THE  TEACHER.  —Nearly  twenty  years 
of  experience  in  teaching  primary  school. 

PREPARATION  MADE  BY  THE  PUPILS  —All  the  observation  they 
had  made  of  the  horse,  and  whatever  training  in  the  con- 
struction of  declarative  sentences  they  had  previously  had. 

PLAN  OF  THE  LESSON.— Lead,  the  children  to  think  as  fast 
and  as  fully  concerning  the  animal  under  consideration  as 
possible,  and  to  express  themselves  in  the  best  manner  they 
know  how. 

MEM.— To  wind  up  in  some  nice  way,  so  as  to  leave  them 
ready  to  work 

THE  LESSON. 

[To  encourage  promptness  of  attendance  the  teacher  oc- 
casionally provides  something  that  the  children  especially 
enjoy,  to  come  in  the  five  minutes  between  the  ringing  of 
the  last  bell  and  the  sounding  of  the  gong  for  school  to 
begin.  It  is  a  dismal,  rainy  day,  the  room  is  dark,  the 
atmosphere  damp,  and  the  little  people  who  have  braved 
the  storm  wear  rather  cloudy  faces.  The  teacher,  having 
finished  marking  the  roll,  lays  down  her  pen  as  the  bell 
rings,  and  stepping  forward,  with  her  sunniest  smile  and 
cheeriest  manner,  says—] 


AN  IMPROMPTU  LESSON  ON   THE  HORSE.       6 1 

Teacher.    What  shall  we  talk  about  to-day? 
Irrepressible  Youngster  [eagerly].    A  hoss. 

Teacher.    Jack  doesn't  mean  hoss,  he  means— [with  a  sig- 
nificant pause.]    Jennie. 
Jennie.    Horse  [with  the  r  very  distinct], 

Teacher.    Very  well.    You  may  tell  me  something  that 
the  horse  has.     [Upraised  hands  are  abundant.]    Annie. 

Annie.    Ears. 

Teacher.    That  isn't  telling  much.     I  want  an  answer 
about  the  horse. 

Annie.    The  horse  has  ears. 

Teacher.    How  many? 

Annie  [disconcerted  by  her  thoughtless  answer,  blushes, 
and  falters  out—].    Two. 

Teacher  [gravely].  Will  you  tell  me  now  what  the  horse  has ? 

Annie.    A  horse  has  two  ears. 

Teacher.    Johnnie. 

Johnnie  [who  has  taken  his  cue  from  Annie's  blunder  and 
its  correction].    A  horse  has  two  eyes. 

Teacher.    Carrie. 

Carrie.    A  horse  has  a  mouth. 

Teacher.    Charley. 

Charley.    A  horse  has  four  feet. 

Walter.    A  horse  has  four  legs. 

Susie.    A  horse  has  a  body. 

Ellen.    A  horse  has  a  head. 

Patrick.    A  horse  has  a  tail. 

Mary.    A  horse  has  a  face. 

Walter.    A  horse  has  a  neck. 

Michael.    A  horse  has  a  mane.     [Only  a  few  hands  are 
still  up,  their  "points"  being  mostly  taken.] 

Eddie.    The  horse  has  a  back. 

Willie.    The  horse  has  teeth. 

Nellie.    The  horse  has  hair  all  over  him. 

Hattie.    The  horse  has  a  tongue. 


62         THE    "QUINCY  METHODS"   ILLUSTRATED. 

Harry.    The  horse  has  hoofs. 

[All  the  hands  are  down.  The  teacher  gives  them  a  start 
by  saying,  provokingly— ] 

Teacher.  I  can  think  of  one  tiling  you  haven't  mentioned. 
It  is  something  that  you  have.  [They  fall  to  studying  for  a 
moment,  and  then  two  or  three  hands  go  up,  and  the  teacher 
calls — ]  Maggie. 

Maggie.    A  horse  has  a  nose. 

Katy  [slightly  crestfallen].  I  was  going  to  say  that;  she 
told  my  story. 

Teacher  [cheerfully].    Well,  you  must  think  of  another. 

Warren.    A  horse  has  cheeks. 

Rose.    A  horse  has  lips. 

[Katy,  who  has  followed  the  teacher's  advice,  now  flings 
up  her  hand  joyfully  and  announces-  -J 

Katy.    A  horse  has  a  forehead. 

Herbert.    A  horse  has  knees. 

Teacher  [stepping  to  the  blackboard].  That  will  do. 
Tell  me  what  part  of  a  horse  I  am  drawing  now.  [The 
children  call  out  as  she  draws — ] 

Children.    Forehead,  nose,  mouth. 

Teacher.    Something  else  besides  the  mouth. 

Children.  Lips,  ears,  eye,  neck,  back.  [The  gong  strikes 
for  school  to  begin,  and  the  teacher  stops  as  if  she  were 
struck.] 

Children  [with  a  cry  of  dismay].  Oh — Oh—but  you 
haven't  finished  it. 

Patrick  [anxiously].    You  haven't  made  any  tail. 

A  child.     [Disconsolately.]    He  hasn't  got  any  legs ! 

Little  girl.    You  ought  to  put  a  mane  on  him. 

Teacher.  I  know  it.  I  can't  stop  to  do  it  now,  but  when 
it's  time  to  draw  pictures  you  may  draw  a  horse  for  me,  and 
put  on  his  mane,  his  tail,  his  legs,  and  every  other  part  you 
named. 


AN  IMPROMPTU  LESSON  ON    THE   HORSE.        63 

Notes  and  Comments. 

Children  are  not  as  stupid  about  taking  hints  as  their 
teachers  often  are,  and  many  of  the  strongest  impressions  a 
child  receives  are  made^  indirectly— a  fact  which  this  lesson 
illustrates. 


CHAPTER  IT. 

LESSONS  ON  COLOR. 

PREPARATORY  WORK.— While  the  lesson  that  follows  is  called 
the  first  lesson,  and  really  is  the  first  in  color  per  se,  the 
children  have  had,  incidentally,  many  preparatory  sugges- 
tive hints,  such  as  a  two-minute  general  exercise,  to  make 
them  observing  on  this  point,  and  lead  them  to  associate  the 
name  with  the  color. 

TeacJier.  I  see  somebody  that  makes  me  think  of  a  blue- 
bird. Who  is  it  ?  [Everybody  begins  to  look  at  every- 
body else ;  a  sharp-eyed  little  woman  calls  out—] 

Girl.    I  know :  ith  Eddie,  cauth  hith  frock  ith  blue. 

Teacher.  There  is  a  little  pink  growing  in  this  room,  and 
the  one  that  can  find  it  first,  may  bring  it  to  me.  [In  a  sec- 
ond a  boy  has  caught  a  tiny  miss  in  a  pink  dress  by  the 
hand,  and  is  trotting  her  down  the  aisle  on  the  double- 
quick,  toward  the  smiling  teacher,  greatly  to  the  amuse- 
ment of  the  other  children.] 

At  another  time  a  diversion  is  effected  by  means  of  a 
guessing  game  of  colors,  running  thus :  . 

Teacher.  I  am  thinking  of  some  color — guess  what  ?  [The 
answers  come  thick  and  fast — ] 

Children.    White!    Green!    Blue!    Yellow! 

This  gives  them  the  names  of  colors,  for  they  learn  very 
i,i|)i(Uy  from  each  other.  Again  Busy -Work  is  given  them 
which  trains  the  eye,  such  as  sorting  slips  of  colored  paper 


LESSONS   ON  COLOR.  65 

or  bits  of  worsted ;  and  now  and  then  a  Httle  preliminary 
lesson  leading  up  to  the  regular  lesson,  like  this : 

Teacher  [suddenly  holding  up  a  red  crayon  before  the 
pupils,  who  are  all  in  their  seats].  Who  will  find  me  some- 
thing of  that  color  ? 

[The  hands  are  raised,  and  a  little  boy,  being  named, 
says—] 

Boy.    That  star  [on  the  blackboard]  is  the  same  color. 

Teacher.  Who  will  tell  me  a  story  about  the  star  ? 
[Hands.]  Mary. 

Mary.    The  star  is  red. 

Teacher.  Everybody  who  can  see  anything  that  is  this 
color  [holding  up  a  yellow  crayon]  may  point  toward  it. 
[Instantly  seventy-five  pairs  of  eyes  are  travelling  around 
in  search  of  something  yellow,  and  in  half  a  minute  the 
room  bristles  with  pointing  hands.]  Eddie  may  tell  us  a 
story  about  what  he  has  found. 

Eddie.    That  ball  is  yellow. 

Teacher.  That's  nice !  All  of  you  may  find  something  in 
the  room  of  this  color  [holding  up  a  blue  crayon].  What 
is  it? 

Children  [in  a  chorus].     Blue ! 

[Everybody  hunts  again;  presently  the  hands  are  all  up.] 

Teacher.  Now  you  may  all  put  your  right  hand  on  what 
you  have  found ;  quick ! 

[Such  a  scampering,  and  such  laughing.  A  dozen  or  so 
fly  at  a  small  boy  whose  necktie  is  blue,  and  try  to  get  near 
enough  to  lay  their  hands  on  it.  Half  the  class  make  a  rush 
for  the  two  unoccupied  chairs  in  the  room  to  climb  up  and 
reach  some  blue  sky  in  a  picture  over  the  teacher's  table ; 
while  a  little  girl  with  a  blue  dress  on,  is  surrounded  by  a 
struggling,  giggling  crowd,  three  or  four  deep,  all  trying  to 
touch  some  part  of  her  dress.  In  the  midst  of  the  hubbub, 
the  teacher,  who  has  enjoyed  her  practical  joke  as  much  as 
the  pupils,  strikes  her  bell  and  the  children  slip  into  their 


66         THE   "QUINCY  METHODS"   ILLUSTRATED. 

seats  with  a  celerity  which  proves  that  perfect  discipline 
and  a  jolly  good  time  are  not  in  the  least  incompatible.] 

Teacher  [whose  eyes  still  shine  with  amusement,  here 
announces :]  To-morrow  morning  I'd  like  to  have  you  bring 
me  something  red :  red  paper,  beads,  glass,  cloth,  wool,  or 
anything  you  can  find — every  one.  Now  you  may  go  home 
to  hunt  for  it.  First  row :  Face !  Rise !  Pass !  [So  the  school 
is  dismissed.] 

THE   FIRST  LESSON. 

PURPOSE  OF  THE  LESSON.— First.  To  train  the  eye. 

Second.  To  find  if  the  children  know  the  color  names. 

Third.  To  discover  whether  they  associate  the  color  with 
the  name. 

Fourth.  To  see  if  they  can  separate  the  idea  of  color  from 
the  object. 

Fifth.  To  train  the  children  to  distinguish  different  colors 
quickly. 

Sixth.  To  exercise  the  pupils  in  recalling  color. 

PREPARATION  MADE  BY  THE  TEACHER.—  Thinking  out  the  plan 
of  the  lesson,  making  the  color-chart  and  cards ;  also  select- 
ing the  colored  objects  and  the  picture. 

PREPARATION  MADE  BY  THE  PUPIL S.—  All  that  the  children 
have  hitherto  learned  by  themselves,  or  been  taught  of  color, 
has  been  fitting  them  for  this  lesson. 

PLAN  OF  THE  LESSON.— First.  Have  the  children  choose 
their  colors  and  match  them. 

Second.  Ask  them  to  name  their  colors. 

Third.  Call  upon  them  to  select  special  colors  named,  and 
to  match  them. 

Fourth.  Let  them  select  other  objects  of  a  specified  color. 

Fifth.  Show  them  a  picture  and  tell  them  to  find  a  speci- 
fied color  in  it. 

Sixth.  Tell  them  to  shut  their  eyes  and  see  colored  things 
at  home. 


LES SON'S  ON  COLOR,  7 

.—BQ  sure  that  all  three  of  the  colors  are  used. 

THE  LESSON. 

[The  teacher  places  herself  at  the  end  of  a  table  and 
the  children  gather  around.  Upon  the  table  is  a  variety 
of  objects  of  different  colors— some  round  beads,  a  few 
crayons,  some  blue  and  yellow  envelopes,  squares  of  glazed 
paper,  pieces  of  cloth,  bright  bits  of  silk,  five  or  six  balls 
of  worsted,  a  bunch  of  feathers,  and  a  box  of  red,  yellow, 
and  blue  cards.  Hanging  on  the  wall  just  back  of  the 
table  is  a  home-made  color  chart,  consisting  of  a  piece  of 
cardboard  about  three  feet  long  by  two  feet  wide,  upon 
which  are  pasted  square  pieces  of  paper  of  these  same  colors, 
of  different  shades,  four  or  five  of  each.  The  cards  are  of 
the  foundation  colors;  that  is,  the  typical  red,  yellow,  and 
blue.* 

Teacher  [takes  the  cards  from  the  box  and  places  them  on 
the  table].  You  may  choose  a  card  of  any  color  you  like. 
[The  children  each  pick  up  a  card.]  Mary  may  match  her 
card  on  the  chart.  [At  this  all  the  children  go  to  the  chart 
and  place  their  cards  on  the  squares  of  the  same  color  as  the 
card  they  hold,  sliding  them  up  and  down  to  find  a  match.] 
First  tell  me  about  Mary's  card.  [Children  stop  matching 
their  own  and  look  at  Mary's.] 

Children.     Mary's  is  right. 

Teacher.    Now  all  tell  me  about  Johnnie's. 

Children.    His  is  right. 

Teacher.    Look  at  Annie's. 

Maggie.    Annie  ain't  right. 

Teacher.  You  think  Annie's  isn't  right  ?  t  Look  closer, 
Annie,  and  see  if  you  have  found  one  just  like  yours.  [The 

*  Care  should  be  taken  in  the  selection  of  all  materials  for  color  lessons  to  get 
as  perfect  foundation  colors  as  possible ;  no  faded  or  poor  shades  are  allowable, 
as  they  lead  the  child  astray. 

t  Observe  the  quiet  correction  of  faulty  language. 


68         THE   "QUINCY  METHODS"   ILLUSTRATED. 

difference  was  only  a  tint,  and  the  child  now  matches  per- 
fectly.] 

Children.    Now  Annie's  is  right. 

Teacher.    What  about  Nellie's  ? 

Children.    Nellie's  is  right. 

Teacher.  Now  that  you  have  all  matched  your  cards,  tell 
me  what  color  your  cards  were.  [Teacher  motions  toward 
Mary.] 

Mary.    I  had  dark  blue. 

Nellie.    Mine  was  light  blue. 

Johnnie.    I  had  light  blue  too. 

Maggie.    I  chose  dark  blue. 

Annie.  Mine  was  light  blue.  Why,  we  all  took  a  blue 
card ;  some  had  light  and  some  had  dark. 

Teacher.  Yes.  Now  you  may  all  take  a  red  card  and 
try  to  find  one  like  it.  [All  go  to  the  chart  and  look  for  a 
match.  When  they  have  found  this,  they  stand  holding 
their  cards  against  the  square  selected.]  What  will  you  say 
about  Nellie's  ? 

Children.    It  is  right. 

Teacher.    And  Maggie's  ? 

Children.    Maggie's  is  not  right. 

Johnnie.     Maggie's  is  right. 

Teacher.  Yes ;  it  is  the  way  the  light  falls  that  makes  it 
look  different  to  you.  How  about  this  ?  [pointing  to  Mary's.] 

Children.    Mary's  is  right. 

Teacher.    Look  at  Johnnie's. 

Children.  Johnnie's  matches.  Maggie's  and  Annie's  are 
right. 

Teacher.  Now  all  take  yellow  cards  and  match  them 
quickly,  and  tell  me  whether  they  are  right. 

Children.  Johnnie's  is  right.  Nellie's  is  right.  [Maggie 
places  a  yellow  card  on  one  square  then  slides  it  up  one 
space.] 

Annie  [who  is  watching].     I  like  that. 


LESSON'S  ON  COLOR.  69 

Children.  Mary's  is  right.  Yes  and  Maggie's.  Tommy's 
isn't  right. 

Teacher.  Not  quite.  Mary,  see  if  you  can  tell  him  where 
to  place  it. 

Mary.    I  don't  think  Nellie's  is  right. 

Maggie.    I  think  it  is. 

Mary.  Yes,  I  think  so  now  [moving  a  little  so  that  the 
light  struck  it  differently]. 

Teacher.    What  color  did  you  have  this  time  ? 

Children.    We  all  had  yellow  cards. 

Teacher.  Yes.  You  may  see  what  you  can  find  on  the 
table  that  is  yellow,  to  bring  to  me.  What  have  you,  Nel- 
lie ? 

Nellie.    I  have  a  yellow  bead.     [The  bead  is  a  sphere.] 

Teacher.    Yes ;  but  can  you  think  of  another  name  for  it  ?  * 

Teacher  [as  Nellie  hesitates].  Now  put  your  thinking- 
cap  on.  [Nellie  is  still  silent.]  Johnnie,  what  have  you  ? 

Johnnie.    A  yellow  piece  of  chalk. 

Teacher.  Yes,  a  piece  of  yellow  chalk  or  crayon.  Mag- 
gie, what  have  you  ? 

Maggie  [holding  up  a  bead].    I  have  a»yellow  sphere. 

Nellie.    Why,  mine  was  a  sphere  too ! 

Teacher.    Yes. 

Mary.    Mine  is  a  yellow  envelope. 

Teacher.    Annie,  what  have  you  ? 

Annie.    A  piece  of  yellow  paper. 

Teacher.  Please  bring  me  that  picture,  Johnnie  [point- 
ing to  a  bright-colored  chromo  representing  the  interior  of 
a  room  with  two  women  and  several  boys  and  girls;  the 
children  are  playing  with  toys], 

Teacher.  Now  each  one  may  find  something  in  the  pic- 
ture that  is  blue.  Nellie,  what  have  you  found  ? 

Nellie.    I  have  found  a  blue  waist  on  a  lady. 

*  A  hint  toward  form. 


/O         THE    "  QUINCY  METHODS"   ILLUSTRATED. 

Mary.    I  have  found  a  blue  skirt  on  a  lady. 

Johnnie.     I  have  found  a  blue  jug. 

Maggie.    I  have  found  a  blue  wagon. 

TeacJier.     Annie,  what  have  you  found  ? 

Annie.    I  can't  find  anything  blue. 

Teacher.  I  can  see  something  that  nobody  has  told 
about. 

Several  children  [excitedly[.    So  do  I !    O-o-o !  O-o-o. 

Annie.  I  see  it  now;  a  jug  on  the  mantel-piece;  no,  I 
guess  it  is  a  pitcher. 

TeacJier.     What  was  the  next  color  you  matched  ? 

Children.    Eed. 

Johnnie  [who  is  still  studying].     I  see*  another  blue  thing. 

Teacher.  Well,  let  that  go  now  and  find  the  red  things  in 
the  picture. 

Maggie.    I  find  a  red  dress  on  a  lady.    • 

Nellie.    I  have  found  a  red  dress  on  a  little  girl. 

Johnnie.    I've  found  a  lady's  handkerchief  that  is  red. 

Mary.    I've  found  a  band  on  a  lady's  skirt. 

Teacher.    I  should  call  that  a  belt. 

Annie.    I  see  something  that  has  a  little  bit  of  red  in  it. 

Teacher.    Who  can  find  anything  more  that  is  red  ? 

Nellie.    I  see  some  red  fire  in  the  fire-place. 

Johnnie.    One  part  of  the  ball  is  red. 

Annie.    That  is  just  what  I  saw. 

Teacher  [to  Johnnie].  Well,  you  must  find  something 
dlse. 

Maggie.    Oh,  I've  found  something. 

Teacher.    What  is  it  ? 

Maggie.    A  lady's  apron. 

Teacher.    Now  we  will  take  the  next  color. 

Class.    Yellow ! 

Maggie.    IVo  found  a  yellow-scarf  on  a  lady's  neck. 

Nellie.    I've  found  a  yellow  bonnet  on  the  lady. 

Johnnie.    I've  found  a  lady's  hair  that  is  yellow. 


LESSONS  ON  COLOR.  /I 

Teacher.  Well,  truly,  that  is  yellow;  a  pretty  little  girl 
with  yellow  hair. 

[N.B.— The  teacher  corrects  the  child  as  courteously  as  if 
he  were  six  feet  tall  instead  of  half  that  height.] 

Annie.    A  part  of  this  ball  is  yellow. 

Mary.    The  girl's  waist  is  yellow. 

Teacher.  Yes,  the  body  of  her  dress  is  yellow.  Now  shut 
your  eyes,  and  think  of  something  in  your  mamma's  house 
that  is  yellow.  [The  children  shut  their  eyes,  but  they 
won't  stay,  so  they  hold  their  eyelids  down.] 

Annie  [slowly,  as  if  looking  at  it].  My  mamma  has  a  yel- 
low apron. 

Mary.    My  mamma  is  making  a  mat  that  has  yellow  in  it. 

Nellie.    My  mamma  has  a  carpet  that  is  part  yellow. 

Teacher.    Now  think  of  something  at  home  that  is  red. 

Mary.    My  mamma  has  a  red  dress  ? 

Nellie.    My  mamma  has  a  red  mat. 

Annie.  My  mamma  has  a  set  of  red  furniture  in  her  best 
room. 

Johnnie.    My  mother  has  a  red  feather  in  her  bonnet. 

Maggie.    There  is  red  in  our  carpet. 

Teacher.  Now  shut  your  eyes  again,  and  see  if  you  can 
see  anything  at  home  that  is  blue. 

Mary.    I  can  see  some  blue  furniture. 

Annie.    All  our  best  clothes  are  blue. 

Maggie.    I  see  my  Sunday  dress ;  it  has  blue  stripes  in  it. 

Nellie.    I  see  my  blue  dress  in  the  closet. 

Johnnie.    I  can  see  my  mamma's  blue  dress. 

Nellie.    I  have  some  blue  ribbon. 

Teacher.  All  the  folks  in  their  seats  are  ready  for  recess, 
so  I  shall  have  to  say  good-by  to  you  for  to-day. 


72         THE   "QUINCY  METHODS"   ILLUSTRATED. 

Notes  and  Comments. 

The  teacher,  be  it  observed,  leads  the  children  to  detect 
and  correct  the  faulty  matching  of  colors  instead  of  doing 
it  herself. 

Another  thing  to  be  noted,  viz.,  the  teacher  does  not  tell 
the  children  anything,  but  devotes  herself  entirely  to  teach- 
ing— a  thing  as  rare  as  it  is  beautiful.  The  lesson  closed 
just  at  the  "verybestest  part,"  as  a  small  girl  remarked 
— a  bit  of  high  art  in  the  plan  of  the  teacher ;  the  children 
will  be  glad  to  have  another. 


CHAPTER  Y. 

LESSONS  IN  DIRECTION. 

THE    FIRST   LESSON. 
GENERAL    EXERCISE. 

PURPOSE  OF  THE  LESSON.— To  teach  the  cardinal  points  of 
the  compass,  thoroughly.  Incidentally  to  train  the  children 
in  promptness,  observation,  and  language. 

PREPARATION  MADE  BY  THE  TEACHER.  —Thinking  out  the  plan 
of  the  lesson. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  they  may 
have  learned,  either  by  experience  or  observation,  of  these 
points ;  and  all  the  education  in  alacrity,  both  of  mind  and 
body,  which  they  have  hitherto  received. 

PLAN  OF  THE  LESSON.—  Have  the  pupils  show  their  right 
hands,  their  left  hands,  point  to  the  right,  point  to  the  left, 
and  point  to  the  place  where  the  sun  rises.  Ask  them  what  it 
is  called.  Bid  them  point  to  west,  north,  and  south.  Let 
them  tell  what  they  can  see  on  the  east  side  of  the  room,  on 
the  west,  north,  and  south;  also  have  them  take  seats  to 
the  east,  west,  north,  and  south. 

THE   LESSON. 

[The  children  are  all  in  their  places.] 

Teacher  [stands  in  front  and  says  briskly] :  Who  is  the 
first  one  to  put  his  hands — [putting  her  hands  on  her  head : 
the  children  do  likewise].  Show  me  your  right  hand.  Your 
left  hand.  [They  have  been  taught  right  hand  and  left  hand 
before.]  Point  to  the  right.  Arms  straight.  Show  me  the 
left  hand  again.  Point  to  the  left.  Point  to  the  right  and 


74         THE   "QUINCY  METHODS"   ILLUSTRATED. 

left  at  the  same  time,  so  that  I  can  see  if  your  arms  are 
straight.  [Teacher  does  it  herself.]  Now  put  your  left  hand 
in  your  lap.  Which  way  are  you  pointing  ? 

Chorus.     To  the  right. 

Teacher.    Susie,  rise  and  tell  me  the  whole  story. 

Susie  [precisely,  with  hands  at  her  side].  I  am  pointing 
to  the  right. 

Teacher  [smiling].  Well,  I  want  to  see  you  do  it.  [Susie 
blushes,  points,  and  repeats.]  Point  to  the  place  where  we 
saw  the  sun  this  morning.  [Children  point.]  Which  way 
is  it? 

A  voice.    Toward  the  sunrise. 

Teacher.    Which  way  is  that  ?    Anybody. 

Another  voice.    East. 

Teacher.  You  may  all  face  the  east.  [All  turn  and  look 
to  the  windows  behind  them.]  You  may  all  face  me.  [It  is 
done.]  Now  look  beyond  me;  tell  me  which  way  you  are 
looking. 

A  child  [instantly].     I  am  looking  straight. 

Teacher.    Straight  what  ? 

Child  [innocently].     Straight  ahead. 

Teacher.    Which  way  is  it  ? 

A  voice.    West. 

Teacher.  All  point  to  the  right  again  1  Which  way  is 
that? 

Chorus.    North. 

Teacher.  All  point  to  the  south.  Put  your  right  hand 
on  the  south  side  of  the  desk.  Can  you  put  your  left  hand 
on  the  north  side  ?  It  isn't  very  easy,  is  it  ? 

A  voice.    It  makes  a  cross. 

Teacher.  Yes.  All  point  to  the  north  side  of  the  room. 
Wlio  wants  to  tell  me  what  ho  can  see  on  the  north  side 
of  the  room  ?  [A  forest  of  hands.] 

TeacJier.    Maggie. 


LESSONS  IN  DIRECTION.  75 

Maggie  [rising,  and  standing  by  her  seat].  I  see  a  clock, 
some  ribbon,  a  fence  [a  toy],  a  picture,  and  a  ribbon — 

Teacher.  Yes,  you  told  that  before.  Who  will  tell  us 
more  ?  Willie. 

Willie.    Flowers,  picture,  blackboard — 

Teacher.  That  will  do.  Who  will  tell  me  what  is  on  the 
east  side  ?  Nellie. 

Nellie.  I  can  see  cards,  pictures,  two  windows,  blinds, 
and  a  horseshoe. 

Teacher.    I  see  a  big  thing. 

Mikie  [speaks  out].    A  door. 

Teacher.    Yes.    You  may  go  on,  Mikie. 

Mikie.    Door  knob,  'rasers. 

Teacher.    Jimmie,  tell  him  what  he  means. 

Jimmie.  Erasers.  [Mikie  subsides  at  this,  and  sits  down 
with  an  embarrassed  grin.] 

Teacher.  Who  will  talk  faster,  and  tell  me  what  is  on 
the  south  ?  [Johnnie,  who  has  been  waving  his  hand  fran- 
tically in  the  air,  is  called  upon.  He  rises  and  begins  to 
mumble—] 

Johnnie.    There  is  a  chart,  some  more  cards,  brackets — 

Teacher.  If  you  don't  open  your  mouth  wider,  I  can't 
hear  what  you  say. 

Johnnie  [louder  and  more  distinctly].  A  table  with  plants 
on  it,  and — and — 

Teacher.    Jennie. 

Jennie.    And  a  motto. 

Teacher.    Harry. 

Harry.    There's  a  chair  there  too. 

Teacher  [pointing  to  the  west].  Any  one  may  tell  me  what 
side  that  is. 

Chorus.    West. 

Teacher.  I  must  wait  now  for  George  to  be  still.  [George, 
who  has  been  shuffling  uneasily  in  his  seat,  quiets  at  this, 


76         THE   "QUINCY  METHODS"   ILLUSTRATED. 

and  the  teacher  goes  on.]  Who  is  ready  for  the  west  side  ? 
Mary. 

Mary.  I  see  a  picture  of  a  dog,  a  blackbird  [stuffed],  a 
door  with  two  fans  over  it,  a  stove-pipe.  [Here  the  teacher 
turns  and  looks.] 

Teacher.  I  can  see  something  more.  [A  hand  nutters 
eagerly,  and  the  little  girl  is  called  upon.] 

Little  girl  [rises,  all  smiles  and  dimples],  I  can  see  the 
teacher's  table,  and  Miss [the  trainer]. 

Teacher.  Yes,  I  thought  you  could  see  something  as  large 
as  that.  [Laughter  from  the  children.]  Now  you  may  all 
take— [a  long  pause,  while  the  whole  class,  alert  and  expec- 
tant, wait  to  hear  what  follows] — a  seat  to  the  north.  [There 
is  a  grand  move  at  this,  accompanied  with  considerable 
noise  and  some  laughter  as  the  class  discover,  standing  in 
the  first  row  to  the  right,  a  line  of  children,  half  amused 
and  half  embarrassed  by  this  sudden  tack.]  All  take  your 
own  seats  [is  the  quick  command,  and  they  slip  back  again 
instantly].  You  may  all  [they  are  quite  in  the  spirit  of  the 
thing  by  this  time,  and  sit  ready  to  spring  at  the  word]  take 
the  seat  to  the  east.  [It  is  the  turn  of  the  back  row  to  be  dis- 
concerted, but  before  they  have  time  to  think,  they  hear — ] 
All  take  your  own  seats.  All  move  one  seat  to  the  south.  [In- 
stantly the  lefts  are  out,  but  being  quite  prepared,  escape  the 
laughter.]  All  take  your  own  seats.  All  move— one  seat  to  the 
west  [comes  in  quick  succession ;  but  they  have  learned  how, 
and  the  change  is  almost  kaleidoscopic  for  rapidity].  Take 
your  seats  [and  they  are  back,  flushed  and  breathless,  but 
quite  ready  for  the  next  thing,  which  is] :  Now  open  your  eyes 
\v  idc  and  watch  to  see  what  Jimmie  does.  Jimmie,  you  may 
do  anything  you  like  (that  is  nice),  and  some  one  in  the  class 
may  tell  me  what  you  have  done.  [Here  follows  a  general 
language  lesson.] 


LESSONS  IN  DIRECTION.  77 


Notes  and  Comments. 

The  skill  indicated  in  the  varied  repetition  of  the  points 
taught,  and  the  happy  combination  of  physical  and  mental 
exercise,  are  manifest  even  in  this  report ;  but  the  teacher's 
perfect  command  of  the  class,  must  be  imagined,  for  it  can- 
not be  described. 

THE   SECOND   LESSON. 

PURPOSE  OF  THE  LESSON.— To  teach  the  semi-cardinal  points 
of  the  compass.  Incidentally  to  train  in  grasp  and  clearness 
of  thought,  and  celerity  of  movement. 

PREPARATION  MADE  BY  THE  TEAGUER.—  Laying  out  the  plan 
and  arranging  the  moves  to  be  made  by  the  pupils. 

PREPARATION  MADE  BY  THE  PUP/LS.—All  the  knowledge 
gained  and  power  generated  by  the  previous  lesson. 

PLAN  OF  THE  LESSON.— Have  the  children  put  their  right 
hands  on  the  nortn  side  of  their  desks,  and  the  left  hands  on 
the  west  side ;  then  fix  their  eyes  half-way  between,  to  find 
what  ?  Northwest.  Place  the  left  hands  on  the  south  side  of 
desks,  and  the  right  hands  on  the  west  side ;  half-way  be- 
tween find  southwest.  Keep  the  left  hands  there,  and  change 
the  right  hands  to  east ;  get  southeast.  In  the  same  way  get 
northeast.  Have  a  child  touch  the  northeast,  southwest, 
southeast,  and  northwest  corners  of  the  room.  Next  have 
the  first  row  go  to  the  northwest  corner  of  the  room.  Last 
row  to  the  southeast  corner.  Third  row  to  the  southwest 
corner,  and  the  fourth  row  to  the  northeast.  The  second 
row  in  their  seats.  Then  first  row  move  to  the  west,  fourth 
row  to  the  north,  fifth  row  to  the  east,  and  third  row  to  the 
south.  Next,  first  row  move  to  the  north,  third  row  to  the 
west,  fourth  row  to  the  east,  and  fifth  row  to  the  south. 
Have  the  second  row  correct  mistakes  and  pass  from  corner 
to  corner. 


/8         THE   "QUINCY  METHODS"  ILLUSTRATED. 

DIAGRAM. 


•\       r\ 

»i    \ 


/   \  T     N 

V  -3  N       / 


THE  LESSON. 

[This  lesson  belongs  properly  in  the  next  section,  but  is 
placed  here  as  showing  how  the  teaching  of  this  subject 
would  be  continued.  It  is  also  a  general  exercise,  and  the 
teacher  begins  by  saying — ] 

Teacher.  Show  me  your  right  hand.  Put  it  on  the  north 
side  of  your  desk.  Put  it  in  the  middle.  On  which  side  is 
your  hand  ? 

Children.    The  north. 

Teacher.  Let  me  see  the  left  hand.  Put  the  left  hand  in 
the  middle  of  the  west  side.  Look  half-way  between  your 
two  hands.  Are  you  looking  at  the  north  ? 

Chorus.    No'm. 

Teacher.     At  the  west  ? 

Chorus.    No'm. 

Teacher.    Where  are  you  looking  ? 

A  voice.    Half-way  between  both. 

Teacher.  Half-way  between  north  and  west  we  call  north- 
west. Place  your  left  hand  in  the  middle  of  the  south  side 
and  your  right  hand  in  the  middle  of  the  west  side.  Look 
half-way  between.  Between  what  two  points  are  you  look- 
Ing! 

Several  voices.    South  and  west. 

Teacher.    And  we  call  that  what  ? 

Children.    Southwest. 

Teacher.    Hold  the  left  hand  where  it  is ;  change  the  right 


LESSONS  IN  DIRECTION.  79 

hand  from  the  middle  of  the  west  to  the  middle  of  the  east 
side,  and  look  half-way  between.  Between  what  ? 

A  child.    South  and  east. 

Teacher.    Yes,  and  that  is  what  ? 

Children.     Southeast. 

Teacher.  Now  put  your  hands  half-way  between  north 
and  east.  Who  will  tell  me  what  to  call  that  point?  Jimmie. 

Jimmie.    Northeast. 

Teacher.  Jimmie  may  go  and  touch  the  northeast  corner 
of  the  room,  and  the  rest  may  be  teachers,  and  tell  him  if  he 
is  right.  [Jimmie  hesitates  a  moment  and  then  marches 
boldly  into  a  corner.] 

Class  [call  out].    That's  right.     [He  returns.] 

Teacher.    Ellen  may  go  to  the  southwest  corner. 

[She  goes  and  the  class  chorus  again] :  That's  right. 

Teacher.  George,  find  the  southeast  corner  for  us. 
[George  deliberately  walks  into  the  northwest  corner.] 

Several  voices.  He's  wrong !  No !  That  isn't  it !  That's 
wrong!  [George  retires  to  private  life  in  some  confusion. 
Carrie  is  called :  she  selects  the  right  corner,  and  the  class 
signify  it.] 

Teacher  [suddenly].  First  row  go  to  the  northwest  corner. 
[This  takes  them  quite  by  surprise,  and  only  the  quick  ones 
start,  but  in  a  moment  they  have  taken  their  cue,  and  the 
corner  is  full.  Southeast  corner,  last  row !  [The  second  row 
were  expecting  this,  and  some  had  started,  but  with  a  laugh 
fall  back  as  the  row  called,  makes  a  rush  for  the  southeast.] 
Northeast,  fourth  row !  Southwest,  third  row !  [This  leaves 
the  second  row  still  sitting,  alert  but  disappointed.]  Now, 
children,  I  am  going  to  call  out  changes,  and  if  a  row 
starts  wrong,  the  second  row  may  take  their  places.  [Their 
faces  brighten  at  this,  and  immediately  every  child  becomes 
a  member  of  the  vigilance  committee.  Then  the  teacher 
calls  out.]  Move,  first  row  to  the  west !  [Their  heads  are 
full  of  the  semi-cardinal  points,  and  they  start  for  the  op- 


80         THE    "  QUINCY  METHODS"   ILLUSTRATED. 

posite  corner.  The  second  row  with  a  triumphant  cry 
of-] 

Second  Row.  Wrong !  [fly  for  the  southwest  corner  as 
the  first  make  their  way  confused  and  shame-faced  to  the 
west  side  of  the  room.  Then  came  in  quick  succession  the 
following  commands :] 

Teacher.  Move  to  the  north,  fourth !  Move  to  the  east, 
the  fifth !  Move  to  the  south,  the  third !  Move  to  the  south- 
east, second !  [Only  one  corner  is  now  occupied,  and  before 
they  have  time  to  become  disorderly,  the  teacher  gives  an- 
other turn  to  the  kaleidoscope,  thus:]  Move  to  the  west, 
third  row !  Move  to  the  north,  first  row !  Second  row  move 
to  the  southwest !  Move  to  the  east,  fourth  row !  Move  to 
the  south,  fifth  row !  Second  row  move  to  the  northeast ! 
Now  fall  into  line,  face  the  same  way  that  I  do  [placing 
herself  at  the  side  of  the  room,  and  turning  toward  the 
door,  which  she  opens  as  she  speaks].  Heels  together; 
heads  up ;  stand  as  tall  as  you  can ;  hands  at  your  sides ; 
rest  on  your  right  feet,  and  start  with  your  left.  Forward 
march !  Right,  left,  right,  left  [clapping  her  hands  as  she 
calls].  Pass  out  and  get  your  hats,  ready  for  dismissal. 
[Thus  the  little  people  are  sent  home,  happy  in  the  thought 
that  school  is  delightful,  and  learning,  only  play.] 

Notes  and  Comments. 

It  is  advantageous  to  make  lessons  upon  special  subjects 
such  as  this,  a  general  exercise,  for  three  reasons.  First, 
it  takes  less  time.  Second,  it  encourages  reserved  or  timid 
children  to  speak  out.  Third,  it  gives  a  restful  and  de- 
lightful variety  to  the  program. 


OHAPTEE  VI. 

A  FIRST  LESSON  IN  DIMENSION. 

PURPOSE  OF  THE  LESSON.— First  To  discover  whether  the 
pupils  have  any  idea  of  dimension. 

Second.  To  teach  them  what  an  inch  is. 

Third.  To  begin  to  familiarize  them  with  linear  measure. 

Fourth.  To  teach  them  how  to  measure. 

Incidentally.  To  train  the  hands  and  eyes. 

PREPARATION  MADE  BY  THE  TEACHER.— Cutting  and  painting 
the  sticks,  bringing  the  scissors,  practising  the  measuring 
(so  as  to  do  it  skilfully),  and  planning  the  lesson. 

PREPARATION  MADE  BY  THE  PUP/LS.—Rad  the  children  been 
trained  in  a  kindergarten,  they  would  have  known  the  inch, 
linear  and  square,  better  (probably)  than  the  teacher;  but 
as  they  had  not,  they  were  quite  unprepared  for  this  lesson, 
unless  it  be  taken  into  account  that  the  stimulus  was  ready 
— the  love  that  little  ones  have  for  measuring. 

PLAN  OF  THE  LESSON.—  First,  find  out  if  the  children  know 
an  inch,  and  if  not,  have  them  measure  it.  Next  give 
three-inch  sticks  and  have  the  children  measure  them, 
using  inch  sticks.  Afterward  give  the  class  strips  of  paper 
to  measure.  When  this  has  been  done,  measure  the  strips 
myself,  having  the  children  observe  the  process.  Then 
have  them  measure  over  again.  Next  play  store  and  have 
them  measure  yarn,  to  sell,  of  the  same  color  as  their 
sticks.  Cut  the  yarn,  and  re-measure  it  slowly,  to  show 
them  how. 

MEM. — Manage  to  have  the  pupils  measure  as  many  times 
as  possible. 

Incidentally.  Teach  color. 


82         THE    "QUINCY  METHODS"   ILLUSTRATED. 


THE  LESSON. 

[The  teacher  has  a  box  of  colored  sticks  exactly  one  inch 
long.  These  are  made  of  matches,  or  tooth-picks,  and 
painted  with  water-colors — red,  blue,  yellow,  green,  orange, 
and  purple.] 

Teacher  [passes  the  box  around  to  the  group  at  the  table, 
and  says  quietly—]  You  may  take  one.  [They  help  them- 
selves.] Tell  me  what  you  have  in  your  hand. 

George.    A  stick. 

Lacy.    A  short  stick. 

Frank.    A  green  stick. 

Tommy.  A  wooden  stick.  [Adding  mischievously—]  A 
stick  of  wood. 

Teacher.  How  long  is  it?  [Not  seeming  to  notice  Tommy's 
remark.] 

Willie  [holding  it  up].    So  long  [innocently]. 

Teacher.  We  will  call  it  an  inch ;  every  one  that  has  a 
stick  as  long  as  Willie's  may  call  it  an  inch  long.  You  may 
all  measure  your  stick  by  Willie's,  and  then  tell  me  how 
long  it  is.  [Teacher  hands  Willie's  stick  to  the  bright-look- 
ing Lucy,  who  measures,  and  the  rest  watch  her  carefully, 
and  then  in  turn  do  the  same.] 

Lucy.    Mine  is  an  inch  long. 

Frank.    Mine  is  an  inch  long. 

George.    So  is  mine. 

Emma.    And  mine. 

Willie.    Mine,  too. 

Teacher  [who  has  been  assisting  Fannie].*  Tell  me  that  in 
a  nice  story. 

Fannie.    My  stick  is  an  inch  long. 

Teacher.    We  will  put  them  back  in  the  box  again.    [They 

*  If  any  do  not  seem  to  know  how  to  hold  the  sticks  so  as  to  measure  exactly, 
the  teacher  helps  them  without  speaking; 


A   FIRST  LESSON  IN  DIMENSION.  83 

do  so.]  Now  you  may  each  take  out  a  stick  of  a  different 
color,  and  perhaps  it  will  be  the  one  you  like  best.  What 
have  you,  Katie? 

Katie.    I  have  a  green  stick. 

Teacher.    How  long? 

Katie.     An  inch  long. 

Teacher.     Tommy. 

Tommy.     I  have  a  purple  stick. 

Teacher.    Tell  me  the  length. 

Tommy.    An  inch  long. 

Teacher  [takes  from  another  box  a  stick  three  inches  long, 
and  holds  it  up].  Tell  me  how  long  this  is. 

George.    More  than  an  inch,  I  think. 

Children  [laughing].     Oh!  oh! 

Teacher.  We  will  each  have  one  out  of  this  box,  and  see 
if  we  can  find  out  how  long  it  is.  Can  anybody  tell  me  how 
to  do  it?  [Hesitation.] 

Frank.  You  might  put  the  inch  stick  alongside  of  it  and 
tell  that  way. 

Teacher.  Let  us  try  it.  I'll  measure,  too.  [Children  all 
begin  to  measure.]  How  long,  Frank? 

Frank.    Three  inches  and  some  more. 

George.    Two  inches. 

Emma  [who  has  done  nothing  herself,  but  watched  the 
rest].  Oh,  more  than  that ! 

Teacher.    How  long,  Lucy? 

Lucy.    Just  three  inches. 

Johnnie.    Mine  is  three  and  a  little  left  over. 

Teacher.    You  have  all  told  but  Emma. 

Emma.    Mine  is  three. 

Teacher.  How  do  you  know?  Did  you  measure?  I  am 
waiting.  [Emma  holds  up  the  longer  stick  and  tries  to 
measure  that  way.]  I  should  lay  it  down  on  the  table. 
[Emma  does  so,  and  measures  carelessly.] 

Emma.    Three  inches. 


84         THE  ' '  Q  UINC  Y  ME  THODS  "  ILL  US TRA  TED. 

George  [who  has  been  looking  on].  You  haven't  gone  to 
the  end. 

Teacher.  Suppose  Emma  tries  it  again.  [The  whole  class 
watch;  she  works  carefully,  and  comes  out  an  even  three 
inches.  The  teacher  now  takes  a  sheet  of  paper  and  a  pair 
of  scissors,  and  begins  to  cut  the  paper  into  strips.] 

Tommy  [patronizingly].     That's  writing-paper. 

Teacher.  Yes.  How  many  would  like  to  measure  this 
piece  of  paper?  I  don't  know  how  long  it  is.  [All  the  hands 
go  up.  Teacher  gives  a  pencil  with  a  strip  of  paper  to  each 
child.]  You  may  mark  off  the  inches. 

George  [beginning  to  measure  and  count  aloud.]  One  inch— 

Teacher.  You  needn't  count  out  loud,  because  it  troubles 
the  others;  we  just  remember  all  the  inches. 

George.    All  the  inches  on  my  paper? 

Teacher.  Yes,  yours  only ;  you  need  not  think  about  the 
others. 

Lucy  [who  is  very  slow  and  precise,  and  has  only  marked 
two  inches].  I  make  buttons  [dots]  on  mine. 

Teacher.  Yes  [smiling],  you  button  your  inches  down, 
every  one  you  get.  [Children  look  and  laugh.] 

Emma  [complacently],    /make  lines. 

Willie.  Oh,  I  know  1  [He  has  only  marked  off  the  inches, 
and  now  begins  to  count.]  I'll  see  how  many  times  I  put 
that  down  [announcing  presently  in  a  loud  voice — ]  Four 
inches. 

Katie.  I  know  how  much  mine  is— a  little  over  four 
inches. 

Lucy.    Aren't  mine  pretty  buttons? 

Teacher.  We  will  all  keep  still  and  look  on,  till  the 
rest  have  measured,  and  then  we  will  tell.  [Waits  till  all 
have  finished.]  Now  you  may  come  and  whisper  to  mo 
•svhat  you  have  found.  [Children  do;  saying  either  four 
inches,  a  little  more,  or  a  little  less.  Teacher  makes  no 
reply,  but  when  the  last  child  has  whispered  the  answer, 


A   FIRST  LESSON  IN  DIMENSION.  85 

lays  her  own  piece  of  paper  down  on  the  tahle  and  measures, 
saying—]    All  look  at  me  and  count. 

Children  [call  out].     One,  two,  three,  four. 

George  [slowly].     I  thought  it  was  five  once. 

Teacher.    All  do  it  with  yours  just  as  I  did.    [The  children 
measure  again,  this  time  more  deftly  and  carefully.] 

Children.    Four  inches. 

Teacher.  Why,  we  all  got  it  just  alike !  Now  hand  your 
pencils  to  me  but  keep  the  sticks,  because  I  want  you  to 
measure  something  else.  [Teacher  takes  some  balls  of  yarn 
from  the  table  drawer.]  Who  has  a  yellow  stick?  [Fannie 
holds  up  her  stick.]  You  may  measure  me  some  worsted  of 
the  same  color ;  help  yourself .  Who  has  red?  [Ellen  raises 
her  hand.]  Ellen,  take  your  ball  of  worsted.  Who  has 
green?  Frank,  you  may  match  your  stick.  The  rest  of  you 
come  and  pick  out  your  own  color.  Let  us  play  that  you  have 
yarn  to  sell,  and  that  I  want  to  buy  four  inches.  Measure 
carefully,  because  you  don't  want  to  cheat  me,  and  you 
won't  make  any  money  if  you  cheat  yourselves.  When  you 
get  it  measured,  tell  me,  and  I'll  cut  it  off  and  then  measure 
it  again  to  see  if  it  is  right.  [Children  fall  to  work  busily 
measuring  the  yarn,  the  more  careful  ones  going  over  their 
measurements  twice,  and  then  holding  on  to  the  yarn  very 
tightly  at  the  point  where  they  wish  it  cut.  After  it  is 
cut,  they  watch  the  teacher  with  eager  interest  while  she 
slowly  measures  the  yarn  again  to  see  if  they  have  been 
exact.]  Johnnie,  you  have  given  me  too  much.  [Johnnie's 
face  falls.]  Tommy,  I  must  have  more,  this  isn't  enough. 
[Tommy's  smile  fades  for  a  minute  and  he  goes  to  work 
measuring  it  over  again.]  Lucy's  is  just  right.  Those  that 
have  their  yarn  cut  off  may  see  if  four  inches  of  worsted  is 
the  same  as  four  inches  of  paper.  [After  a  pause  filled  with 
measuring—]  That  is  enough  for  to-day.  You  may  all' 
take  your  yarn  home  to  show  your  mother  how  long  four 
inches  is. 


86         THE  "QUINCY  METHODS"   ILLUSTRATED. 

Notes  and  Comments. 

Children,  like  grown  people,  are  more  interested  in  seeing 
how  a  thing  is  done,  after  they  have  tried  to  do  it  them- 
selves, than  before.  Thus  the  children  watched  the  teacher 
with  close  attention  as  she  measured  after  their  first  trial, 
but  they  could  hardly  have  been  brought  to  do  so  before. 


CHAPTER   VII. 

A  PLANT  LESSON. 

QENERAL      EXERCISE. 

PURPOSE  OF  THE  LESSON.— First.  To  arouse  thought  in  the 
pupils,  and  lead  them  to  its  expression. 

Second.  To  discover  what  the  children  know  about  the 
beginning  of  plant-life. 

Third.  To  create  an  interest  in  growing  things. 

PREPARATION  MADE  BY  THE  TEACHER.— Providing  a  box  of 
earth,  a  basket  of  objects,  and  making  the  outline  of  the 
lesson. 

PREPARATION  MADE  BY  THE  PUPILS.—  All  their  previous  ob- 
servations concerning  things  that  grow. 

PLAN  OF  THE  LESSON.— First.  Have  the  children  name  the 
objects. 

Second.  Have  the  children  plant  the  objects. 

Third.  Have  the  children  make  a  distinction  between 
things  that  have  lif e  and  those  that  have  not. 

Fourth.  Draw  from  the  children  the  conditions  of  growth. 

Fifth.  Interest  them  in  nature,  so  that  they  will  wish  to 
care  for  plants. 

Sixth.  Get  the  children  to  bring  more  boxes,  that  every 
row  may  have  a  garden. 

THE  LESSON. 

[The  teacher  stands  before  her  table  with  a  small  shallow 
basket  in  her  hand,  in  which  are  various  objects;  on  the 
table  is  a  wooden  box,  about  fifteen  inches  long  by  ten 
inches  wide  and  five  inches  high,  filled  with  earth.] 


88         THE   "  QUINCY  METHODS"   ILLUSTRATED. 

Teacher.  See  what  I  have  in  this  basket!  Harry  may 
come  out  and  tell  me. 

Harry.  There  is  a  horse-chestnut,  a  rubber  ball,  a  shell, 
some  beans,  some  corn,  a  pen,  some  apple  seeds  and  an 
acorn.  [Harry  returns  to  his  seat.] 

Teacher.    What  have  I  in  this  box  on  the  table?   Susie. 

Susie.    Some  dirt. 

Teacher.    Does  any  one  know  where  I  got  it? 

Several  voices  [instantly].    Joe  brought  it. 

Teacher.    Where  do  you  think  he  got  it? 

A  child.    At  home. 

Another  child.    In  his  father's  garden. 

A  little  girl  [adds  importantly].     I  saw  him  digging  it  up. 

Teacher.    Did  you  get  it  in  the  garden,  Joe? 

Joe  [proudly].    Yes'm. 

Teacher.     What  do  you  think  I  want  it  for,  children? 

Children.    To  put  flowers  in.    To  plant  things  in. 

Teacher.  I'll  tell  you.  I  am  going  to  make  a  garden,  and 
I  am  going  to  plant  in  it  some  of  the  things  that  are  in  this 
basket.  Those  who  see  anything  here  which  will  grow  if  I 
plant  it  in  my  garden,  may  raise  their  hands.  [Hands  go 
up  all  over  the  room.]  Annie. 

Annie.    Horse-chestnuts. 

TeacJier.    How  do  you  know? 

Annie.    I've  seen  horse-chestnut  trees  growing. 

TeacJicr.    What  do  you  say,  Frank? 

Frank.  I've  seen  little  tiny  horse-chestnut  trees  just 
coming  out  of  the  seeds. 

Teacher.  I  will  let  Eddie  plant  the  horse-chestnut.  [Eddie 
<  out,  his  face  all  aglow  with  pleasure,  digs  a  hole  in 
the  earth  with  his  fingers,  and  puts  the  horse-chestnut  into 
it,  watched  with  breathless  interest  by  every  child  in  the 
room.]  Lucy  may  find  something  else  to  plant.  [Lucy 
comes  out,  selects  corn  and  beans,  and  holds  them  up  so 
th:it  the  children  can  see.  |  Why  do  you  take  those? 


A   PLANT  LESSON.  89 

Lucy.    Because  my  papa  plants  them  in  his  garden. 

Teacher.  Then  I'll  let  you  plant  them  in  my  garden. 
[This  Lucy  does  while  the  class  observe  her  attentively.] 
Anything  more  in  the  basket  that  will  grow?  Maggie. 
[Maggie  picks  out  the  apple  seeds.]  You  may  plant  them. 
[She  does  so.]  Richard  may  plant  something  else.  [Richard 
takes  the  acorn.  Here  some  hands  are  raised.]  Mary  has 
something  to  say.  What  is  it? 

Mary.  I  saw  some  acorns  when  I  was  coming  to  school 
to-day,  and  there  were  some  little  acorn  trees  coming  out  of 
them. 

Teacher.  Who  ever  saw  anything  like  that?  [Many 
signify  by  uplifted  hands  that  they  have.]  Who  will  find 
one  and  bring  it  to  me  to-morrow?  [A  general  show  of 
hands,  and  the  teacher  adds  impressively — ]  I  shall  expect 
it.*  [Richard,  who  has  been  standing  with  the  acorn  in  his 
hand,  listening,  now  proceeds  to  plant  it.]  Charley  may 
plant  something  in  my  garden,  too.  [Charley  comes  up 
boldly  and  looks  in  the  basket.] 

Charley.    There  isn't  anything  here  to  plant. 

Teacher.    There  is  a  shell,  Charley. 

Charley.     That  won't  grow. 

Teacher.    Well,  here  is  a  ball  and  a  pen. 

Charley.    But  those  won't  grow  either. 

Teacher  [to  class].  Do  you  think  Charley  knows  about 
these?  Wouldn't  it  be  just  as  well  to  plant  them  as  the 
other  things  we've  put  in  the  garden? 

Children  [chorus].     No,  they  wouldn't  grow. 

Teacher.  Will  the  things  you  have  planted  in  the  box  of 
earth  grow  ? 

Children  [again  in  a  chorus  and  decidedly].     Yes'm. 


*  There  was  an  oak  tree  just  back  of  the  schoolhouse,  and  the  next  morning 
the  teacher's  table  was  covered  with  acorns  in  every  stage  of  growth,  from 
the  swollen,  unbroken  shell  to  the  acorn  plant  three  or  four  inches  long,  with 
mud  to  match. 


90         THE    "Q UINC Y  METHODS"   ILLUSTRATED. 

Teacher.  Very  well.  I'll  put  the  box  into  this  cupboard 
[a  dark  closet],  and  leave  it  till  next  week,  then  we  will  look 
and  see  what  a  pretty  garden  we  have. 

Children  [instantly].  No;  you  must  put  it  by  the  win- 
dow. 

Teacher  [calmly  astonished  and  with  great  simplicity]. 
Why? 

A  voice.    So  it  will  have  the  light. 

Another  voice.     So  the  sun  can  shine  on  it. 
t  Teacher.    If  the  sun  shines  on  it  the  earth  will  dry  up. 

Children.    You  will  have  to  water  it. 

Teacher.    I  might  forget  to  water  it. 

Several  voices.    I'll  remember  it !    I'll  tell  you ! 

Teacher.  I  think  I'll  give  this  box  to  the  first  row  to  take 
care  of,  and  if  I  can  get  another  box  of  earth  to-morrow  I 
will  give  it  to  some  other  row. 

Voices.  I'll  bring  a  box !  I  will !  I  can !  I've  got  one  at 
home  like  that ! 

Teacher.  Very  well ;  then  each  row  can  have  a  garden, 
and  now  this  is  what  we  will  sing:  "  Shall  I  show  you  how 
the  farmer  sows  his  seed?" 

Notes  and  Comments. 

Please  observe  that  the  teacher  does  nothing  except  stand 
before  the  pupils,  hold  up  a  basket  of  things,  and  ask  a  few 
questions.  The  children  do  most  of  the  talking,  all  of  the 
work,  and  promise  to  do  more.  Who  is  there  who  could  not 
be  a  teacher? 


CHAPTER    Till. 

A  LESSON  ON  HILLS. 

PURPOSE  OF  THE  LESSON.— First.  To  take  the  first  step  in 
the  teaching  of  the  science  of  Geography. 

Second.  To  lead  the  children  to  observe  the  forms  of  land 
around  them. 

By  the  way,  to  teach  language. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Performing  a 
series  of  experiments  with  children  and  sand. 

Second.  Deyising  an  ingenious  plan. 

PREPARATION  MADE  BY  THE  PUP/LS.—A.U  the  sand  mounds 
and  mud  pies  that  they  have  ever  made,  and  all  the  hills 
they  have  ever  seen  (not  looked,  at). 

PLAN  OF  THE  LESSON.— First.  Let  the  pupils  make  sand 
hills. 

Second.  Call  their  attention  to  the  difference  between 
them,  and  thus  lead  the  pupils  to  observe  slope. 

Third.  Get  from  the  pupils  the  terms  high,  low,  steep, 
sides,  top,  and  bottom. 

Fourth.  Have  them  tell  me  all  about  their  hills. 

Fifth.  Bring  in  the  idea  of  drainage  by  pouring  water  on 
one  of  the  hills. 

MEM. — Be  sure  to  take  the  steepest  hill  for  this,  so  as  to 
make  the  washing  away,  more  perceptible, 

Sixth.  Tell  the  pupils  to  look  at  the  hills  on  their  way 
home,  and  be  ready  to  make  them  to-morrow. 

THE  LESSON, 

A  primary  schoolroom.  In  an  open  space  back  of  the 
children's  desks,  stands  a  long  low  sand  table,  and  upon  it 
two  or  three  pailfuls  of  sea-shore  sand.  The  teacher  has 


92         THE   "QUINCY  METHODS"  ILLUSTRATED. 

just  finished  a  writing  lesson,  given  as  a  general  exercise, 
and  now  says  cheerily: 

"  All  the  babies  may  go  to  the  sand  table  and  wait  till  I 
come." 

At  this,  about  a  dozen  little  children,  five  and  six  years  of 
age,  start  off  at  once  for  the  table,  which  having  reached, 
they  immediately  begin  to  play  in  the  sand. 

Meantime  the  teacher  is  setting  the  rest  to  work,  giving 
to  one  group  some  pictures  to  look  at ;  sending  another  to 
the  blackboard  to  illustrate  one  of  Mother  Goose's  rhymes ; 
a  third  division  make  i's  from  a  copy  on  the  blackboard,  and 
the  last,  try  to  draw  the  teacher's  chair.  After  all  are  busy, 
the  teacher  saunters  leisurely  down  the  aisle,  stopping  every 
step  or  two,  to  straighten  some  small  rigid  hand  cramped 
around  a  pencil,  to  lift  a  pair  of  drooping  shoulders,  to 
give  an  encouraging  pat  to  a  curly  head,  or  to  catch  play- 
fully at  a  little  hand  put  shyly  out  to  stroke  her  dress  as  she 
passes.  But  all  this  seeming  leisure  is  a  part  of  the  plan, 
for  every  now  and  then,  quick  glances  have  been  cast  toward 
the  babies  and  their  play,  and  just  as  each  little  one  is 
putting  the  finishing  touches  to  a  mound  of  sand,  she  stands 
beside  them  and  asks : 

"What  do  they  look  like?" 

"Little  hills,"  pronounces  a  mite  of  a  woman,  after  a  quick 
survey  of  the  row  of  tiny  hummocks  on  the  table. 

"  That's  what  I  think,"  cordially  assents  the  teacher;  "  let's 
call  them  hills.  Look  at  Harry's." 

"Oh,  isn't  it  tall  and  slim!"  exclaims  an  excitable  little 
fellow. 

"Mine  is  nice  and  fat,"  complacently  remarks  a  small 
man,  who  is  too  busy  patting  down  his  own,  to  pay  much 
attention  to  anybody's  else. 

"See  Mary's"  (it  was  long  and  low);  " if  you  were  going 
to  coast  down  one  of  these  hilla  next  winter,  which  one 
would  you  rather  have?" 


A   LESSON  ON  HILLS.  93 

"Harry's,"  is  the  unanimous  answer. 

"  Why?"  questions  the  teacher. 

"  Because  it  is  so  high,  of  course,"  declares  one,  evidently 
thinking  the  question  slightly  stupid. 

"I'd  take  it  because  it's  so  steep,"  asserts  another  boy. 
"Hike  to  coast  where  the  hill  is  as  steep  as— anything." 

"How  would  this  one  do?"  asks  the  teacher,  pointing  to 
Mary's. 

"Ho,  I  wouldn't  like  that;  why,  you  couldn't  get  any 
slide  at  all,  hardly,"  bursts  out  Bertie,  who  has  just  begun 
to  talk. 

"Why  not?"  smilingly  persists  the  teacher. 

"  Cos  it's  too  little !"  says  the  youngest  of  the  group. 

"  I  think  it's  because  it's  so  low,"  remarks  a  young  phi- 
losopher in  petticoats,  who  has  been  studying  the  hillocks 
attentively  all  this  time. 

"I  think  so  too,"  echoes  the  teacher,  with  an  approving 
pat  on  the  golden  head.  "I'd  like  to  know  where  you 
would  begin  to  coast  on  Harry's  hill,"  she  says  in  a 
moment. 

"Why,  at  the  top!  don't  you  know  that?"  with  a  half- 
pitying  complacency. 

"And  where  do  you  stop?"  queries  the  teacher. 

"At  the  bottom,"  chorus  three  or  four  children;  and  one 
experienced  slider  adds  meditatively,  in  a  half  aside : 

"Unless  you  get  tipped  over,  and  then  you  stop  in  the 
middle." 

The  teacher  smothers  a  laugh,  and  goes  on : 

"Each  put  your  hand  on  your  hill,  where  you  would  begin 
to  slide." 

The  hands  are  all  placed. 

"And  what  part  of  the  hill  is  that?" 

"The  top,"  agree  the  children. 

"Now  let  us  play  that  this  shell  is  a  sled,  and  it's  going 
down*  Where  is  it  now  ?" 


94         THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  On  the  side,"  comes  the  chorus. 

"And  now?"  as  it  stops. 

"At  the  bottom." 

"What  kind  of  a  hill  is  this  of  Harry's?" 

"A  high  hill!"  "A  tall  hill!"  "A  thin  hill!"  are  the 
answers. 

"I  like  to  call  it  a  high  hill,"  remarks  the  teacher,  as  if 
incidentally. 

"  What  kind  of  a  hill  did  you  tell  me  Mary's  was?" 

' '  A  short  hill !"     "A  fat  hill !"     "  A  low  hill. " 

"Yes.  I  think  it  is  a  low  hill.  Now  each  one  tell  me  a 
nice  little  story  about  his  hill.  Bertie." 

"My  hill  is  high." 

"That's  nice.    Nellie." 

"My  hill  is  long." 

"Yes.    Annie." 

"My  hill  is  short." 

"Minnie." 

"  This  is  the  side  of  my  hilL" 

"Harry." 

"  This  is  the  top  of  my  hill." 

"Jimmie." 

"  This  the  bottom  of  my  hill." 

"Carrie." 

"I  made  a  big  hill." 

"  My  hill  is  made  of  sand,"  concludes  Willie. 

"What  are  the  "truly"  hills  made  of?"  is  the  teacher's 
sudden  inquiry. 

"Dirt,"  is  the  unanimous  response. 

"  I'll  tell  you  what  we  will  play  next.  Nellie,  bring  me  a 
cup  of  water."  She  does  so.  "Now,  I  am  going  to  pour 
some  of  this  water  down  at  the  bottom  of  Harry's  hill,  and 
wo  will  see  it  run  up."  Such  a  burst  of  laughter. 

"You  can't  do  it!"  "Isn't  she  queer?"  "Water  don't 
run  up  hill,"  are  some  of  the  remarks  those  amused  little 


A    LESSON  ON  HILLS.  95 

people  are  making,  while  the  teacher  stands,  cup  in  hand, 
waiting  to  put  her  question  in. 

"  How  does  it  run?" 

"Down." 

"Very  well.  I'll  pour  some  here  on  the  top,  and  we'll 
play  it's  rain." 

There  comes  a  cry  of  dismay  from  the  little  group,  for 
Harry's  hill,  under  the  steady  stream  of  water,  is  rapidly 
disappearing. 

"Oh,  don't;  it's  all  running  away."  "  Oh,  you're  spoiling 
it ;  please  don't !"  are  the  appealing  requests  that  come  from 
the  little  hill-makers. 

"Why,  what  is  the  matter?"  inquires  the  teacher,  inno- 
cently. 

"  It's  all  melting  away."  "It  isn't  steep  any  more,"  com- 
plain the  children. 

"  How  came  it  to  run  away?    What  made  it?" 

"The  water!"  is  the  quick  reply. 

"What  did  the  water  do?" 

"  It  carried  the  sand  down  with  it." 

"It  ran  away  with  the  sand,"  said  a  slow  one,  who  had 
been  thinking  a  great  deal  and  talking  but  little. 

"Yes.  Now  I  am  going  to  let  you  run  away— home, 
pretty  soon,  and  I  want  you  to  look  at  all  the  hills  you  can, 
and  make  some  like  them  for  me  to-morrow  in  the  sand. 
Good-by."  The  children  all  go  to  their  seats.* 

Notes  and  Comments. 

Turn  every  desire  of  the  child  (if  possible)  to  good  ac- 
count. Even  the  natural  propensity  of  children  to  play  in 
the  dirt  may  be  made  the  first  step  to  that  grandest  of  all 
sciences— Geography. 

*  The  next  day  the  children  could  hardly  wait  to  make  in  the  sand  the  hills 
they  had  seen,  and  when  made,  the  hills  were  all  easily  recognizable,  being  excel- 
lent copies  of  the  originals. 


96         THE   "QUINCY  METHODS"   ILLUSTRATED. 

The  idea  of  the  tremendous  wasting,  wearing  power  the 
water  has  upon  the  land,  is  here  implanted  in  the  children's 
minds.  It  will  grow  with  their  growth ;  and  when  children 
so  instructed  shall  come  to  maturity,  there  will  be  men  and 
women  who  can  form  some  adequate  conception  of  the  great 
creative  forces  still  at  work,  transforming  the  earth  under 
their  very  eyes. 


OHAPTEE   IX. 

A  LESSON  UPON  GRANITE. 

GENERAL    EXERCISE. 

PURPOSE  OF  THE  LESSON.— Mainly,  to  lead  the  children  to 
consider  what  they  owe  to  their  parents,  and  in  doing  this, 
to  give  them  an  impulse  toward  a  series  of  observations, 
which  if  continued  will  end  in  the  study  of  Mineralogy. 

PREPARATION  MADE  BY  THE  TEACHER.  —First.  All  her  sense  of 
responsibility  regarding  the  children's  education  in  morals. 

Second.  Deciding  how  to  introduce  the  matter  of  filial 
gratitude. 

Third.  Arranging  the  details  of  the  lesson,  and  bringing 
the  specimens. 

PREPARATION  MADE  BY  THE  PUPILS.— First.  All  that  they  feel 
of  affection  or  know  of  kindness. 

Second.  Whatever  they  may  have  seen  or  heard  of  the 
process  of  quarrying  granite. 

PLAN  OF  THE  LESSON.— (I)  Get  the  children  to  tell  me  all  that 
they  know  about  the  work  done  in  the  quarries.  (2)  Lead 
them  to  think  why  their  fathers  do  this  hard  work,  and  what 
is  bought  for  them  with  the  money  thus  earned.  (3)  Then 
make  an  appeal  to  their  sense  of  filial  gratitude.  [Mem. — Be 
sure  not  to  leave  the  mothers  out.]  (4)  Finish  by  leading 
the  children  to  see  and  name  three  of  the  parts  of  granite, 
the  black,  the  shiny,  and  the  gray. 

THE  LESSON. 

[All  the  children  are  in  their  seats,  and  the  teacher 
stands  by  her  table,  which  is  covered  with  bits  of  granite 
of  various  sorts.  She  begins  her  lesson  thus :] 


98         THE   "  QUINC Y  METHODS"   ILLUSTRATED. 

Teacher  [holding  up  a  piece  of  granite].  Children,  what  is 
this? 

Children  [confidently].    Granite. 

Teacher  [holding  up  another].     And  what  is  this? 

Children  [nonchalantly].     That's  granite  too. 

Teacher  [questioningly].  But  this  [holding  up  the  first] 
doesn't  look  like  that  [holding  out  the  second]? 

A  voice.  Because  that  first  piece  you  had  was  Quincy 
granite,  and  the  other  was  Concord. 

Teacher.    How  do  you  know? 

A  child  [in  a  slightly  contemptuous  tone  of  voice].  Why, 
can't  you  see?  One  piece  is  darker  than  the  other. 

Teacher  [persistently].  But  how  do  you  know  that  this  is 
Concord  granite? 

Little  boy  [confidently].  My  father  told  me,  and  he  is 
cutting  a  monument  out  of  it  down  to  his  shed. 

Another  child  [excitedly].  My  father's  cutting  an  urn  in 
his  shed,  out  of  Quincy  granite. 

Little  girl  [sitting  in  front  proudly  says]:  My  father's 
cutting  curb-stones. 

Another  child  [not  to  be  outdone].  My  father's  cutting 
curb-stones  too. 

Young  braggadocio  [here  caps  the  climax  with  a  flourish 

by  exclaiming] :  They  are  cutting  an  eagle  up  to  Mr.  W 's 

sheds,  and  I  went  up  to  see  it  the  other  day. 

Teacher  [entirely  unmoved].  That  will  do.  I  want  you 
to  tell  me  something  more  about  this  piece  of  granite  [the 
Quincy].  Where  does  it  come  from? 

A  voice.    Out  of  the  quarries. 

Teacher.  It  is  so  hard  I  shouldn't  think  the  men  could  cut 
it  out. 

Knowing  six-year-old  [patronizingly].  Why,  don't  you 
know?  They  don't  cut  it  out;  they  blast  it. 

Teacher  [ignoring  the  snub].     Can  somebody  tell  me  what 


A    LESSON   UPON  GXANITE.  99 

he  means  by  blasting?  [All  the  hands  are  waving  eagerly.] 
Timmie. 

Timmie  [rapidly,  and  with  great  dramatic  fervor].  Why, 
you  see  the  men  drill  some  holes — so — [suiting  the  action  to 
the  word,  while  half  the  children  in  the  room  are  making 
the  motion  of  drilling] — and  fill  them  with  powder,  and  then 
they  put  a  slow  match  to  it,  and  it  goes  off,  and  a  great 
piece  of  stone  comes  out  of  the  quarry. 

Teacher  [composedly,  keeping  to  the  point  of  getting  the 
whole  story].  But  your  fathers  don't  go  up  to  the  quarries 
to  cut  monuments.  [All  are  very  anxious  to  tell.]  Ellie. 

Ellie.    They  bring  it  down  to  the  sheds  on  a  stone-team. 

Teacher.  I  shouldn't  think  they  could  lift  it  out  of  the 
quarry.  [Everybody  knows  this  too.]  Maggie. 

Maggie.    Oh,  they  have  derricks  to  lift  it  out. 

Teacher.    After  they  get  it  down  to  the  sheds,  what  then? 

Children  [together].  They  cut  it  into  urns  and  monu- 
ments. 

Teacher.  Do  the  men  ever  do  anything  to  monuments 
after  they  are  cut?  [This  throws  them  off  the  track  a  little, 
and  only  a  few  hands  are  raised.]  Carrie. 

Carrie.    Yes'm,  they  polish  them  sometimes. 

Teacher  [thoughtfully].  It's  hard  work,  isn't  it?  What  do 
your  fathers  do  it  for?  [This  is  put  to  the  whole  class,  and 
blocks  them  for  a  time ;  then  a  small  man  with  a  little  old 
face,  who  looks  as  if  he  had  already  begun  to  be  made  ac- 
quainted with  the  stern  realities  of  life,  announces  posi- 
tively] : 

Small  man.    Cos  they  has  to. 

Little  girl.    They  do  it  to  get  money. 

Teacher  [still  pursuing  her  point].  Why  do  they  work  so 
hard  to  get  money? 

Children.    To  buy  things.    To  spend  at  the  store. 

Teacher.    Do  they  buy  anything  for  you? 

Mina.    My  father  buys  me  candy. 


100      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

Teacher  [gravely  contemplative].  And  that  is  all  he  ever 
bought  for  you.  [The  children  begin  to  look  serious,  and  to 
consider  the  matter  thoughtfully.] 

Ellie  [breaking  the  silence].     My  father  buys  me  clothes. 

JaJcie.  My  father  bought  me  a  pair  of  boots  and  a  hat 
once. 

Teacher.  Those  are  things  to  wear :  do  you  have  anything 
else  that  he  spends  his  money  for? 

Jean.    My  father  bought  me  some  oranges  last  Saturday. 

Teacher.    What  did  you  do  with  them? 

Jean  [instantly  responding].     I  eat  'em. 

Teacher.  Isn't  there  something  else  that  he  buys  for  you 
to  eat,  that  you  have  every  day?  All  of  you  try  to  think.* 
Something  that  you  had  this  morning. 

Katie.    Meat  and  potatoes. 

Hattie.    Bread  and  butter. 

Teacher.  What  would  you  do  if  you  didn't  have  these 
things  to  eat? 

Children  [promptly].    Die.    Starve. 

Teacher  [suggestively].  Then  what  do  we  think  of  our 
fathers,  who  work  so  hard  to  buy  all  these  things? 

Instantaneous  chorus.    They  are  good !    They  are  kind ! 

Teacher  [continues].  But  the  meat  and  potatoes  aren't 
good  till  somebody  has  cooked  them  for  us. 

Mattie  [before  the  others  get  a  chance  to  speak].  My 
mother  cooks  'em. 

Teacher.  Then  I  think  we  should  say  something  about 
our  mothers. 

Again  in  a  chorus.    Oh,  they  are  good  too. 

Teacher.  I  want  to  know  now,  how  the  granite  grows? 
[There  is  great  giggling  at  this,  and  a  quick  response.] 

Josie.    It  don't  grow ;  it's  a  stone. 

Teacher  [persistently].    Well,  of  what  is  it  made?    [This  is 

*  It  seldom  occurs  to  children  that  food  is  bought. 


A   LESSON   UPON  GRANITE.  IOI 

something  of  which  they  never  thought,  and  not  one  has  a 
word  to  say.]  Each  of  you  may  take  a  piece,  and  see  if  it 
looks  as  if  it  was  made  of  anything.  [The  children  each 
come  and  get  a  specimen,  and  go  back  to  their  seats  intently 
studying  it,  though  most  of  them  have  seen  granite  every 
day  of  their  lives  since  they  could  rememher.  It  has  suddenly 
dawned  upon  their  mental  vision  that  there  is  something  new 
to  be  discovered  in  an  old  and  familiar  object.  After  giving 
them  time  to  look  at  the  granite  carefully,  and  not  time  to 
tire,  the  teacher  asks:]  What  can  you  see,  Patrick? 

Patrick.  There  are  bits  of  black  specks  about  it ;  dirt, 
isn't  it? 

Johnnie  [excitedly].     No,  the  black  is  right  in  the  stone. 

Carrie.    It's  all  mixed  in  with  the  rest. 

Teacher.    The  rest  of  what? 

Ellen.    The  rest  of  the  stone. 

Teacher  [not  to  be  baffled].  And  what  is  the  rest  of  the 
stone  made  of? 

Susie.    I  can  see  some  shiny  pieces. 

Teacher.  Yes  [summing  up],  we  have  found  black  pieces 
and  shiny  pieces  in  the  granite;  what  else?  Mikie.  [Mikie 
points  to  a  spot  of  feldspar.] 

Teacher.    Does  it  shine? 

Mikie  [tipping  the  stone  to  get  more  light  on  it].  I  can't 
see  any  shine. 

Teacher.    Is  it  black? 

Mikie  [decidedly].    No. 

Teacher.    How  does  it  look? 

Mikie  [examining  his  stone,  says  slowly] :  It  looks  kinder 
like  gray. 

Teacher.  I  don't  quite  like  the  way  Mikie  said  that ;  can 
anybody  tell  me  better? 

[But  the  children  are  too  much  taken  up  with  their  speci- 
mens to  have  paid  any  attention  to  Mikie's  expression ;  they 
were  conscious  only  of  his  thought.  The  teacher  turns  to 


1 02      THE  ' '  Q  UINC  Y  ME  THODS  "  ILL  US TRA  TED. 

Mikie,  who  looks  as  if  he  would  like  to  tell  about  it  again, 
and  he  says  promptly :] 

Mikie.    It  is  gray. 

Teacher.  Everybody  who  has  found  something  black  in 
his  granite  may  raise  his  hand.*  [Every  hand  is  up.]  How 
many  have  found  something  shiny?  [All  hands  are  raised.] 
How  many  can  see  the  gray.  [Nearly  everybody.]  Nellie 
has  something  to  say ;  what  is  it? 

Nettie.  The  gray  in  mine  looks  something  like  the  clay 
we  make  balls  of. 

Teacher.  Eddie  may  tell  me  what  he  has  found  in  his 
granite. 

Eddie.  I  found  something  black,  something  shiny,  and 
something  gray  in  the  granite. 

Teacher.  Do  you  suppose  that  the  granite  is  made  of  any- 
thing? [Pausing  a  moment  to  see  if  the  children  are  moving 
toward  the  previous  question, — Of  what  is  granite  made? 
and  judging  by  their  faces  that  they  are,  she  continues :] 
I  think  I  will  let  you  ask  your  fathers  about  it,  and  when 
we  talk  of  granite  again,  you  can  tell  me  all  that  you  find 
out.  Now  the  clock  says  that  it  is  almost  dinner-time,  and 
I'll  let  you  go.  Perhaps  your  fathers  will  be  home  before 
you  are. 

Notes  and  Comments. 
The  moral  point  is  by  far  the  best  point  of  this  lesson. 

*  The  hornblende  Is  quite  perceptible  in  the  Quincy  granite. 


CHAPTER  X. 

LESSONS  ON  FORM. 

THE       FIRST       LESSON. 

PURPOSE  OF  THE  LESSON.— First.  To  find  if  the  children 
know  the  name  sphere,  and  if  not  to  teach  it. 

Second.  To  draw  from  the  children  a  description  of  the 
sphere. 

Third.  To  contrast  the  sphere  and  cylinder. 

Fourth.  To  get  the  children  to  give  their  definition  of  a 
sphere. 

PREPARATION  MADE  BY  THE  TEACHER.—  Making  all  the  forms 
except  the  balls.  Thinking  out,  and  writing  the  plan.  Ex- 
perimenting with  the  sphere  and  cylinder,  and  trying  to 
imagine  what  the  children  would  be  likely  to  say  about 
them. 

PREPARATION  MADE  BY  THE  PUP/LS.—Two  or  three  years'  ex- 
perience with  the  sphere  (ball),  but  upon  the  cylinder  they 
were  mainly  unprepared. 

PLAN  OF  THE  LESSON.—  Begin  by  asking  the  children  what 
we  shall  call  the  sphere.  Then  get  them  to  tell  all  about  it. 
To  help  them  in  understanding  the  sphere,  introduce  the 
cylinder,  and  lead  them  to  see  the  difference.  When  a  good 
description  is  gained,  tell  them  the  name — sphere  (if  none  of 
them  can  tell).  Close  the  lesson  by  having  them  sum  up  the 
points  they  have  given  for  a  definition,  and  give  to  it  the 
name  sphere.  Incidentally,  train  them  to  make  complete 
sentences. 


IO4      THE    "QUINCY  METHODS"   ILLUSTRATED. 


THE  LESSON. 

Upon  the  table  before  the  teacher  is  a  box  containing 
several  balls,  with  crocheted  covers  of  worsted,  in  the 
rainbow  colors;  also  some  cubes,  spheres,  and  cylinders, 
made  of  various  materials,  such  as  clay,  soap,  pasteboard, 
and  wood.  The  little  children  come  around  the  table.  As 
the  last  child  reaches  it,  and  before  the  teacher  can  speak, 
Jirnniie,  whose  quick  eyes  have  caught  sight  of  the  balls, 
inquires : 

Jimmie.    Are  you  going  to  play  bounce  the  ball? 

Teacher  [quietly].  I  don't  know  what  we  shall  play  be- 
fore we  get  through.  [Teacher  passes  the  box  to  the  children 
in  turn.]  You  may  each  take  the  color  you  like. 

Susie.    What  are  they  made  of? 

Johnnie.    They  are  made  of  clay. 

Teacher.  Are  they  made  of  clay?  [Children  begin  to  feel 
the  balls.] 

Tommy.    No ;  I  can  press  mine  in. 

Katie  [decidedly].    Mine  is  made  of  rubber. 

Teacher  [holding  up  a  ball  before  the  class].  What  shall 
we  call  it? 

Children.    A  ball. 

Teacher.    Tell  me  the  whole  story,  Ellen. 

Ellen.    It  is  a  ball. 

Teacher.  I'll  call  it  a  ball  if  you  say  so.  Each  of  you 
may  tell  me  something  about  your  ball. 

Michael.    A  yellow  ball. 

Teacher.  I  would  like  to  have  you  tell  it  to  me  so  that  I 
can  understand  it. 

Michael.    Mine  is  a  yellow  ball. 

Richard.    A  ball  can  bounce. 

Mary.    A  ball  is  round. 

Teacher.    Isn't  that  a  nice  story? 

Susie.    Mine  looks  like  a  red  apple. 


LESSONS   ON  FORM.  1 05 

Tommy.    Mine  looks  like  an  orange. 

Jimmie.    Mine  is  covered  with  yarn. 

Ellen.    I  can  roll  my  ball. 

Teacher.    That  is  a  good  story, 

Michael.     My  ball  bounces. 

Katie.    I  can  roll  my  ball  over  to  Susie. 

Teacher.    Now  you  have  all  told  me  a  story  but  Jennie. 

Jennie  [slowly].     The  ball  is  made  of  rubber. 

Teacher.    Mary  may  tell  her  story  again. 

Mary.    A  ball  is  round. 

Teacher.    And  what  will  it  do?    [Looking  at  Ellen.] 

Ellen.    It  will  roll. 

Teacher  [takes  the  cylinder  and  rolls  it].  What  does  this 
do? 

Children.    It  rolls. 

Teacher  [sets  it  on  the  base  and  pushes  it].  Now  see  me 
roll  it.  [It  slides  along,  and  the  children  laugh.]  Why 
doesn't  it  roll? — it  is  round. 

Mary.    Because  it  is  not  round  all  round ! 

Jimmie.    It  will  roll  one  way. 

Katie.    It  rolls  like  a  wheel. 

Teacher.  Why  doesn't  it  roll  this  way?  [Setting  it  on 
the  end  and  pushing  it.] 

Michael.    It  just  went  right  along  here. 

Mary.    Because  it  isn't  round  like  a  ball. 

Susie.    It  won't  roll  because  it  is  smooth. 

Tommy  [eagerly].  My  brother  Charley  has  an  awful 
smooth  piece  of  wood ;  he  got  it  from  a  tree. 

Teacher.    Yes.     Jennie,  tell  me  something. 

Jennie.  Sometimes  it  rolled  that  way  when  you  didn't 
want  it  to. 

Teacher.    Why  doesn't  it  roll  this  way? 

Johnnie.     Because  it  is  only  half  round. 

Teacher.  There  is  another  word  you  can  use  which  is 
better,  because  it  may  be  half  or  it  may  be  more  than  half. 


106      THE    "QUINCY  METHODS"   ILLUSTRATED. 

Mary.     It  is  part  round. 

Tommy.     It  is  part  square,  J  think ! 

Teacher.  Which  part  is  square?  [Tommy  touches  the 
base.] 

Katie  [airily].    That's  a  circle. 

Jennie.    It  is  part  round  and  smooth  on  the  bottom. 

Katie  [who  isn't  going  to  have  her  circle  ignored].  It  is 
part  round  and  part  a  circle. 

Teacher.    Somebody  else  tell  what  they  think  about  it. 

Michael.    Just  this  side  of  it  is  round. 

Teacher.    What  do  you  say,  Jimmie? 

Jimmie.    I  think  it  is  part  round  and  part  flat. 

Teacher.  Now  will  this  [cylinder]  roll  like  this  [ball]? 
[Giving  cylinder  and  ball  a  push.] 

Johnnie.    The  ball  part  will. 

Ellen.    It  does  not  roll  when  it  stands  up. 

Teacher.    Does  the  ball  roll  when  it  stands  up? 

Michael.    You  can't  stand  the  ball  up. 

Katie.    The  ball  has  to  roll. 

Richard.    The  ball  has  to  roll  all  the  time. 

Mary.    The  ball  rolls  every  way  you  want  it  to. 

Susie.    The  ball  is  round  all  round. 

Teacher.    Which  way  is  that? 

Ellen.    Every  way. 

Teacher.    What  is  this  that  rolls  every  way? 

Children.     A  ball 

Teacher.  I  know  another  name  for  this ;  do  you  want  me 
to  tell  you  what  it  is? 

Children.    Yes'm. 

Teacher.    It  is  a  sphere. 

Michael.    A  spear? 

Teacher.  A  sphere.  You  may  all  tell  mo  the  now  name 
for  this.  [Picks  up  the  ball.] 

Children.    A  sphere. 


LESSONS  ON  FORM.  1 07 

Teacher.  Now  you  may  tell  me  how  round  a  sphere  is, 
and  which  way  it  will  roll. 

Mary.    A  sphere  is  all  round,  and  will  roll  every  way. 

Teacher.    We  will  all  say  that  together. 

Children  [repeat].  A  sphere  is  all  round,  and  will  roll 
every  way. 

Notes  and  Comments. 

The  most  striking  point  in  this  lesson  is  the  skill  of  the 
teacher  in  the  steady  leading  of  the  thought  toward  the  end 
she  had  in  view,  and  in  moulding  the  expression  to  the 
form  she  wished. 

It  will  be  observed  that  this  lesson  has  combined  the 
sphere  and  cylinder  in  the  teaching  of  the  first  elementary 
form,  the  sphere;  and  thus  leads  directly  toward  the  pres- 
entation of  the  second  elementary  form,  the  cube. 


THE    SECOND     LESSON.* 

PURPOSE  OF  THE  LESSON.— First.  To  lead  the  pupils  to  see 
and  tell  the  differences  between  round  and  cubical  bodies. 

Second.  To  get  from  the  children  a  description  of  the 
cube. 

Third.  To  gain  from  the  pupils  their  definition  of  a  cube. 

Fourth.  To  associate  (if  not  already  known)  the  name 
with  the  form. 

Fifth.  To  teach  the  cylinder  (form  and  name). 

Sixth.  To  fix  the  forms  in  the  mind  by  means  of  recalling 
objects  of  similar  form. 

PREPARATION  MADE  BY  THE  TEA  CHER.  —The  same  as  in  the 
preceding  lesson. 

PREPARATION   MADE   BY  THE   PUPILS.—  They  have  without 


*  This  was  given  the  following  day— and  here  the  cylinder,  the  connecting  link 
between  the  cube  and  sphere — and  the  cube,  are  combined. 


108      THE  "QUINCY  METHODS"   ILLUSTRATED. 

doubt  reviewed  the  previous  lesson  pretty  thoroughly, 
having  probably  aired  their  newly-acquired  knowledge  at 
home,  and  tried  various  and  sundry  experiments  with  balls 
(cylinders  if  they  could  find  any),  to  say  nothing  of  having 
discussed  the  matter  more  or  less  with  their  classmates. 

PLAN  OF  THE  LESSON.— Begin,  with  the  idea  of  roundness 
(rolling)  gained  in  the  last  lesson,  and  get  the  children  to  tell 
why  the  cube  will  not  roll.  Then  lead  the  pupils  to  notice 
that  the  cube  has  faces,  and  have  them  find  all  the  faces. 
Teach  the  edges  in  the  same  way.  Next  develop  the  idea 
that  all  the  faces  and  edges  are  alike,  then  tell  them  (if  they 
do  not  know)  that  all  such  bodies  are  called  cubes.  After 
this  have  the  children  tell  all  about  the  cylinder,  going  back 
to  the  idea  previously  gained  that  it  will  roll.  Lead  them  to 
see  and  tell  wherein  it  differs  from  the  ball  (bring  in  here  the 
term  base).  Now  combine  their  descriptions  into  a  defini- 
tion and  give  to  it  (if  necessary)  the  name  cylinder.  Last, 
have  the  children  name  everything  they  can  think  of,  that 
looks  like  each  of  the  three  forms. 

THE  LESSON. 

Teacher  [takes  cube  and  tries  to  roll  it].    See  me  roll  this. 

Jimmie  [laughing].     Oh,  it  hops! 

Michael.    It  rolled  clean  over  to  me ! 

Mary.    That  didn't  roll. 

Ellen.    It  can't  roll  because  it  is  square. 

Tommy.    It  can't  roll  because  it  is  not  round  in  any  place. 

Susie.    It  has  square  corners  and  can't  roll. 

Teacher  [to  Susie].  Show  me  the  corners.  [Susie  takes 
the  cube  and  points  to  the  corners.]  Ellen  may  tell  her 
story  again. 

Ellen.    It  can't  roll  because  it  is  square. 

Teacher.  Now  show  mo  where  it  is  square.  [Ellen  takes 
the  cube  and  puts  her  finger  on  one  of  the  faces.]  You  may 


LESSONS  ON  FORM.  1 09 

each  take  a  block  and  show  me  a  square  upon  it.  [They  do 
so.]  You  may  find  all  the  squares  you  can  on  the  block. 
[This  is  done.]  Now  you  may  put  your  hand  on  the  outside 
of  that  square  [pointing  to  one  of  the  faces],  and  run  the 
finger  along  there,  and  down  there,  and  across  there,  and 
up  there  [indicating  with  her  finger  the  four  edges  of  this 
face].  What  do  we  touch? 

Tommy.    Sides. 

Katie.    Ends. 

Teacher.  All  put  your  hands  in  the  middle  of  the  table. 
Now  put  them  out  here  [at  the  side].  What  have  we  found? 

Tommy  [decidedly].    The  sides. 

Katie  [persistently].     The  ends. 

Teacher.  We  call  sides  and  ends  something  else ;  what  is 
it?  [No  one  speaks.]  The  edge;  tell  me.  [Tommy  and 
Katie  are  rather  taken  aback  by  this,  but  join  in  repeating 
with  the  others—] 

Children.    The  edge. 

Teacher.  Put  your  finger  right  in  the  middle  of  your 
square;  now  on  the  edge  of  your  square.  Now  put  your 
finger  on  the  edges  of  all  the  squares  on  the  block.  Hold 
your  block  just  before  your  eyes,  and  touch  the  square  on 
the  right-hand  side ;  touch  the  square  on  the  left-hand  side. 
Are  there  any  more  sides? 

Richard.    There's  a  square  on  top. 

Jennie.    There's  a  square  on  the  bottom. 

Teacher.    Any  more? 

Mary.    There  is  one  next  to  my  face. 

Ellen.    There  is  one  around  on  the  other  side. 

Teacher.    Which  square  is  the  largest? 

Children.    All  just  alike ! 

Tommy  [earnestly].    Ain't  none  of  'em  the  largest? 

Teacher  [gently].  None  of  them  are  largest.  When  I 
have  a  block  like  this,  just  as  many  squares  as  this  has,  and 
one  square  just  as  large  as  the  other,  I  call  it  a  cube. 


IIO      THE   "QUINCY  METHODS"  ILLUSTRATED. 

[Teacher  sets  the  cube  on  the  table  beside  the  ball  and 
cylinder.]  Which  of  these  will  roll? 

Mary.    The  ball  and  that  one  [pointing  to  cylinder], 

Teacher.    Which  one  will  not  roll? 

Children.    The  cube. 

Teacher  [taking  cylinder].     Well,  then,  I'll  roll  this. 

Jimmie.    You'll  have  to  tip  it  over  to  roll  it. 

Teacher.  But  I  don't  want  to  tip  it  over;  I  want  it  to  roll 
as  it  is. 

Johnnie.    It  won't  roll  on  the  end. 

Katie.    It  will  roll  some  ways. 

Richard.    Some  ways  it  won't  roll. 

Teacher.    What  part  will  roll? 

Susie.    The  ball  part  will  roll. 

Ellen.    The  round  part  will  roll. 

Teacher.     And  what  part  will  not  roll? 

Richard.    The  bottom  part  and  top  part. 

Teacher.  But  I  can  make  either  part  the  bottom— see 
[standing  the  cylinder  first  on  one  end  and  then  on  the 
other].  When  men  cut  the  granite  monuments  here  in  the 
sheds,  what  do  they  call  the  bottom  part? 

Children  [promptly].    The  base.     [They  all  know  that.] 

Teacher.  Then  I  will  call  the  end  this  stands  on,  the  base. 
Now  you  have  told  me  that  the  sphere  would  roll  every  way, 
and  that  the  cube  wouldn't  roll  at  all.  What  will  you  tell 
me  about  this? 

Mary.  This  will  only  roll  one  way,  and  stand  still  the 
other  ways. 

Teacher.  Now  I'll  tell  you  the  name  of  this— a  cylinder. 
You  may  all  say  it. 

Children  [repeat].    A  cylinder. 

Teacher.  Now  think  very  hard,  and  tell  me  everything 
you  can,  that  looks  like  a  cylinder.  [At  this  some  hold  their 
eyes  shut,  to  recall,  and  some  look  eagerly  around.  In  a 
minute  they  begin  to  exclaim,  one  after  the  other,  thus—] 


LESSONS  ON  FORM.  HI 

Children.  The  trunk  of  a  tree !  A  cork !  [there  was  one  on 
the  table].  My  arm!  That  stove-pipe !  The  curtain-roller ! 
A  broom-handle !  My  mother's  rolling-pin ! 

Teacher.  That  will  do.  What  can  you  think  of  that 
looks  like  a  sphere? 

Children.  A  marble.  A  base-ball.  An  orange.  A  glass 
agate.  A  peach.  [Teacher  gets  a  peach  from  her  drawer 
and  silently  shows  that  it  isn't  a  sphere  by  trying  to  roll  it 
end  over  end.]  An  apple.  [Teacher  also  experiments,  with 
an  apple  which  she  happens  to  have.]  A  ball  of  yarn.  A 
candy  gooseberry.  [A  ball  of  candy  greatly  beloved  by 
Quincy  children.] 

Teacher.    Now  name  some  cubes  for  me. 

Children.  That  box  [on  the  desk].  A  trunk.— No  [judici- 
ally], a  trunk  is  too  long.  A  caramel. 

Teacher.    We'll  all  play  we've  had  some.    Good-by. 

Notes  and  Comments. 

It  would  have  taken  but  half  the  time,  and  not  a 
shadow  of  the  skill,  to  have  had  the  children  memo- 
rize the  definitions  of  these  three  forms,  and  the  defini- 
tions would  have  been  infinitely  better.  But  what  would 
have  been  the  result?  Only  one  faculty  of  the  mind  exer- 
cised, an  unnecessary  formula  glibly  recalled  and  promptly 
forgotten.  Instead,  the  whole  mental  machinery  has  been 
set  going,  thought  has  been  aroused,  and  expression  stimu- 
lated; while  all  the  knowledge  of  facts  that  the  child  has 
acquired  is  now  thoroughly  at  his  command,  because  gained 
by  the  use  of  his  own  senses.  Was  it  worth  while? 


CHAPTER  XL 

A  LESSON  UPON  SNOW. 

GENERAL     EXERCISE. 

PURPOSE  OF  THE  LESSON.— First.  To  discover  some  of  the 
properties  of  snow. 

Second.  To  find  why  it  snows  in  cold  weather. 

Third.  To  lead  the  children  to  notice  snow  crystals. 

PREPARATION  MADE  BY  THE  TEACHER.— The  making  out  of 
the  plan  of  the  lesson,  and  then  waiting  for  the  right  kind 
of  a  snow-storm. 

PREPARATION  MADE  BY  THE  PUPILS.—  All  that  they  have 
previously  noticed  regarding  the  snow. 

PLAN  OF  THE  LESSON.— First.  Arouse  an  interest  in  the 
snow.  Song. 

Second.    Call  for  properties. 

Third.  Ask  where  it  comes  from,  and  why  it  doesn't 
come  in  summer. 

Fourth.  Ask  why  it  is  different  from  rain. 

Fifth.  Send  the  children  to  examine  snow-flakes. 

Sixth.  Have  them  draw  the  snow  crystals. 

THE  LESSON. 

A  mild  day  in  winter,  and  a  soft,  slow  snow-storm,  when 
the  large  flakes  are  floating  gently  down.  The  classes  have 
just  returned  from  recitation  and  it  is  time  for  a  general 
exercise.  All  sit  with  folded  hands  expectant,  when  the 
teacher  says: 

Teacher.  You  may  look  out  of  the  windows.  What  do 
you  see? 

Several  voices.    A  snow-storm. 


A   LESSON   UPON  SNOW.  113 

Another  voice.    It  snows. 

A  boy  in  front.    I  see  the  snow. 

Small  boy  [after  a  long  look,  deliberately,  as  if  he  had 
waited  to  arrange  his  phrase].  The  snow  is  coming  down. 

Teacher.  Let  us  sing,  "Oh,  see!  the  snow  is  falling 
down."  [As  they  sing  the  first  line  of  each  stanza  they 
make  a  waving  motion  with  their  fingers  and  hands  to 
represent  the  falling  of  the  snow.  When  they  have 
finished — ]  I  want  some  of  you  to  tell  me  something  about 
the  snow.  [Many  hands  are  raised.]  Bertie. 

Bertie.    The  snow  is  white. 

Teacher.    Edith. 

Edith.    The  snow  is  cold. 

Teacher.    Weston. 

Weston.    The  snow  is  soft. 

Teacher.    Nellie. 

Nellie.    The  snow  is  wet. 

Teacher.    Alice. 

Alice.    The  snow  looks  like  pop-corn. 

Teacher.    Susie. 

Susie.    The  snow  looks  like  feathers. 

Teacher.    Where  does  the  snow  come  from?    Stevie. 

Stevie.    From  the  sky. 

Teacher.     Mary. 

Mary.     From  the  clouds. 

Teacher.  That's  what  I  think.  Who  was  ever  out  in  a 
snow-storm  in  the  summer?  [A  general  commotion  at  this, 
some  laughing,  and  a  few  Ohs,  with  the  general  response 
from  the  children — ] 

Children.    We  don't  have  snow-storms  in  summer. 

Teacher  [quietly].  Don't  we  have  any  clouds  in  the  sum- 
mer? [Some  have  their  answer  ready,  and  the  rest  are 
travellirfg  back  to  look  at  last  summer's  sky  to  see  if  there 
were  any  clouds,  and  find  it  hard  to  remember.  A  little  girl 
rather  older  than  the  rest  being  called  up,  says — ] 


114      THE   "QUINCY  METHODS"  ILLUSTRA7^ED. 

Little  girl.    Yes,  but  it  rains. 

Teacher.  If  the  rain  came  from  the  clouds  last  summer, 
why  doesn't  it  come  to-day? 

Several  children.  Because  it  is  cold  to-day.  Because  it 
freezes. 

Teacher  [promptly].  Because  what  freezes?  [This  is  an 
unexpected  turn  in  the  conversation,  but  after  a  moment's 
pause  a  bright-eyed  youngster  puts  up  his  hand,  and  being 
called  upon,  ventures—] 

Little  boy.    Isn't  it  the  rain? 

Teacher  [slowly,  questioning  in  her  turn].  Then  if  it  is 
the  rain  that  freezes,  why  isn't  this  a  hail-storm?  [Here  is 
a  puzzler.  The  class  look  questioningly  at  each  other,  and 
then  at  the  teacher,  who  presents  a  perfectly  impassive 
countenance,  and  finding  no  help  from  either  quarter,  they 
turn  with  one  accord  to  look  out  of  the  window  at  the 
snow,  to  see  if  that  will  throw  any  light  on  the  subject. 
After  a  minute  or  two  of  perfect  silence,  during  which  every 
child  in  the  room  is  racking  his  small  brain  to  find  a  reason 
for  this  phenomenon,  and  the  teacher  is  patiently  waiting, 
a  thoughtful-looking  little  girl  puts  up  her  hand  timidly, 
and  the  teacher  says—]  Well,  Mary. 

Mary  [slowly,  as  if  not  quite  sure  of  her  ground].  I  don't 
think  the  rain  all  freezes.  I  think  it  half  freezes. 

Teacher  [in  a  calmly  inquiring  tone].  Just  half?  [Mary 
colors  at  the  implied  correction,  and  says  hastily—] 

Mary.    Part  freezes. 

Teacher  [smiling].  Partly  freezes.  Not  quite;  the  water 
that  is  up  in  the  clouds  freezes  differently.  When  it  freezes 
one  way  it  forms  hail,  and  when  it  freezes  another  way  it 
becomes  snow. 

Small  youth  [sagely].    I  just  thought  that  was  it  I 

TeacJier  [considerably  amused  at  this  tardy  wisdom].  Did 
you?  Now  I'll  let  you  all  go  to  the  door  and  catch  some  of 
the  snow-flakes  on  your  sleeves,  and  look  at  them.  [The 


A    LESSON   UPON  SNOW.  1 15 

children  run  gayly  out  to  the  door,  stretch  out  their  arms  an 
instant,  and  then  step  back  into  the  hall,  to  look  at  the 
feathery  flakes  before  they  melt ;  after  which  they  pass  back 
to  their  seats.  All  this  is  done  without  confusion  or  crowd- 
ing, and  with  less  noise  than  might  be  supposed.] 

Teacher  [to  the  class  when  all  is  quiet  again].  Did  you 
catch  any  snow? 

Grand  chorus.    Yes'm. 

Teacher.    Somebody  bring  some  to  me  that  I  may  see  it. 

Children  [with  a  shout  of  laughter].  We  haven't  got  any 
now,  it  is  all  gone ;  it  has  melted. 

Teacher  [not  to  be  baffled  by  this].  If  you  can't  show  me 
any  snow,  can  you  tell  me  how  a  snow-flake  looks?  [Quite 
a  shower  of  hands.]  Bertie. 

Bertie.    The  snow-flake  is  flat. 

Teacher.    EUie. 

Ellie.    I  don't  think  they  are  flat.    Mine  stuck  up. 

Teacher.    Johnnie. 

Johnnie.    There  were  some  little  points  on  mine. 

Teacher.    Annie. 

Annie.    I  caught  one  that  looked  just  like  a  little  star. 

Eddie  [deliberately].  When  I  stuck  my  arm  out,  one 
came  down,  and  it  looked  like  a  wheel. 

Teacher.  Would  you  like  to  go  again  and  catch  some 
snow-flakes,  look  at  them  carefully,  and  then  come  back  and 
draw  them  on  your  slates? 

Delighted  chorus.    Yes'm. 

Teacher.  Go.  [They  scatter  like  leaves  before  the  wind, 
and  in  two  minutes  the  room  is  full  of  young  artists,  busily 
drawing  that  miracle  of  beauty,  the  snow-flake.] 

Notes  and  Comments. 

The  science  of  natural  phenomena  is  generally  supposed  to 
be  so  very  abstruse  that  only  the  mature  intellect  is  able  to 
enter  upon  its  investigation,  and  yet  little  children  five  and 


Il6      THE   "QUINCY  METHODS"   ILLUSTRATED. 

six  years  of  age  have  in  this  lesson  been  led  to  begin  their 
discoveries  in  this  branch  of  study,  and  have  shown  con- 
siderable power  in  inductive  reasoning;  several  of  these 
youthful  philosophers  having  made  as  logical  inferences  as 
any  graybeard  could  have  done.  All  of  which  demonstrates 
two  things :  first,  that  the  mental  power  already  generated 
in  the  little  child  is  seldom  realized  by  teachers  (and  the 
generality  of  parents  for  that  matter);  second,  that  a 
knowledge  of  the  nature  of  the  child  is  needed,  to  render  this 
power  available. 


SECTION  THIRD. 


CHAPTER 

I.  Preliminary. 
II.  Beading.— The  Word. 

III.  Reading.— The  Sentence. 

IV.  Reading.— Combination  Lesson  I. 
V.  Reading.  —Combination  Lesson  II. 

VI.  Reading. — Advanced  Lesson  in  Script 
VII.  Reading.— First  Lesson  in  Print. 
VIII.  Reading.— Phonics. 
IX.  Reading. — Imitation  Exercises. 


Section  Third  is  devoted  to  the  presentation  of 
the  subject  of  Reading,  as  developed  during  the 
first  year  at  school.  The  lessons  and  exercises  here 
described  were  given  by  different  teachers,  and 
are  intended  to  illustrate  not  only  the  principal 
stages  of  progress,  but  also  the  more  prominent 
phases  of  this  most  important  study. 


OHAPTEE  I. 

PRELIMINARY. 

THE  little  children  have  now  been  in  school  six  weeks. 
They  have  become  acquainted  with  the  place,  their  school- 
mates, and  the  presiding  genius — the  teacher. 

Physically,  they  have  been  made  generally  comfortable 
in  every  way.  One  long  recess  during  the  morning  session, 
and  a  five-minute  run  around  the  house  in  the  afternoon, 
has  been  their  out-of-door  exercise;  while  short  lessons, 
which  bring  about  frequent  changes  of  position,  together 
with  marches,  movement  songs,  and  three  minute  intervals 
of  light  gymnastics,  have  afforded  a  modicum  of  in-door 
exercise  sufficient,  certainly,  to  secure  good  health. 

In  the  way  of  intellectual  training  they  have  had  each 
day,  at  least,  three  special  (class)  lessons,  and  several  gen- 
eral exercises,  all  preparatory  in  matter  and  objective  in 
manner.  By  means  of  these  they  have  acquired  a  ready 
command  of  their  few  idioms  and  quite  a  vocabulary  of 
words.  In  addition  to  this,  they  have  commenced  the 
classification  of  their  small  stock  of  facts,  previously  gained, 
and  the  acquisition  of  new  ones. 

Interest  has  also  been  aroused,  and  desire  stimulated  in 
the  direction  of  investigation;  and  beginnings  have  been 
made  in  almost  all  of  the  sciences.  In  this  last  work  great 
care  has  been  taken,  not  only  that  all  facts  taught  should  be 
absolutely  correct,  but  also  that  in  their  presentation  they 
should  be  arranged  systematically. 

In  other  words,  they  have  all  this  time  been  led  to  ob- 
serve closely,  stimulated  to  think  rapidly,  taught  to  exp  ress 


120      THE   "QUINCY  METHODS"   ILLUSTRATED. 

themselves  clearly  and  in  good  English,  and  trained  con- 
stantly to  attend  to  the  work  that  they  were  doing.  And  not 
this  alone.  Regularity  of  work  and  play  has  been  insured, 
and  obedience  exacted,  bringing  these  little  people  thus 
early,  to  feel  the  force  of  law  and  order;  while  the  over- 
confident have  been  quietly  but  persistently  put  down,  and 
those  lacking  in  confidence  continually  encouraged. 

During  all  these  weeks  of  unconscious  growth  (the  more 
unconscious  the  more  valuable)  they  have  also  been  in 
training  in  all  phases  of  personal  and  social  morality.  In- 
directly, and  by  example,  they  have  been  taught  cleanliness 
and  truthfulness,  helpfulness  and  courtesy. 

These  small  men  and  women  have  now  not  only  entered 
into,  and  commenced  to  take  their  share  of  the  great  world 
which  lies  around  them,  but  they  have  also  begun  to  take 
possession  of  those  lesser  kingdoms,  where  each  shall  rule 
alone :  they  have  begun  to  learn  the  lesson  of  a  lifetime — 
self-control. 


OHAPTEE  IT. 

READING.— THE  WORD. 

AT  the  end  of  the  first  six  weeks  or  two  months,  the 
teacher,  who  has  all  this  time  been  quietly,  perseveringly, 
and  conscientiously  studying  her  little  ones,  finds,  as  a 
result  of  her  deliberate  and  skilful  investigations,  that  she 
is  able  to  group  her  new  class  according  to  their  mental 
power. 

This  being  done,  she  feels  that  now  they  may  with  advan- 
tage take  up  Beading;  that  study  upon  which  so  much 
depends;  that  study  which  is  the  open-sesame  to  all  the 
ctored-up  wisdom  of  the  past. 

Accordingly,  some  bright  clear  day,  without  the  slightest 
"  premonitory  symptom, "  she  commences  her  work,  begin- 
ning with  the  group  that  shows  the  best  mental  grasp, 
bringing  the  other  groups  into  it  one  by  one,  as  they  seem 
to  her  to  be  able,  to  take  up  the  work. 

THE    FIRST    LESSON. 
THE  WORD. 

PURPOSE  OF  THE  LESSON.— First.  To  begin  that  association 
of  thought  with  written  or  printed  words,  which  will  finally 
become  automatic.  That  is,  to  train  the  child  to  receive 
the  idea  expressed  in  the  word  through  the  eye,  as  readily 
as  he  has  hitherto  received  it  through  the  ear. 

Second.  To  arouse  the  emotion  of  desire. 


122       THE  "  QUINCY  METHODS"   ILLUSTRATED. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Selection  of 
the  time  of  giving  the  lesson,  also  the  word  and  object  to  be 
presented. 

Second.  Learning  to  draw  the  object  rapidly  and  well. 

Third.  The  practice  in  writing  "a  hen"  (while  talking), 
quickly,  and  with  well-formed  letters. 

Fourth.  Originating  the  two  devices:  first,  the  introduc- 
tion of  the  young  pupil-teacher ;  second,  the  play  of  owning 
many  hens  and  letting  each  pupil  catch  one. 

PREPARATION  MADE  BY  THE  PUPILS.—  All  that  they  have 
gained  from  every  lesson  they  have  had  since  they  entered 
school. 

PLAN  OF  THE  LESSON.— First.  Call  the  children  out  very 
quietly. 

Second.  Draw  a  hen  on  the  board,  without  speaking. 

Third.  Call  one  of  the  older  children  and  ask  him  to  be 
the  teacher. 

Fourth.  Get  the  children  to  show  me  the  hen  that  is  on 
the  board,  and  then  tell  them  that  I  am  going  to  make 
another  for  the  little  teacher. 

Fifth.  Write  a  second  "  a  hen"  and  ask  some  child  to  find 
one,  and  when  he  selects  the  drawing,  tell  him  that  that  is 
already  taken,  thus  leading  him  to  choose  one  of  the  written 
ones,  then  ask  the  little  teacher  to  say  if  the  child  is  right. 

Sixth.  Play  that  I  keep  eggs  to  sell  and  have  many  hens; 
write  the  expression  * '  a  hen"  all  over  the  board. 

Seventh.  Tell  them  that  they  may  each  catch  one  of  my 
hens  if  they  will  be  gentle  to  it.  [Mem.  Make  that  im- 
pressive.] 

Eighth.  Let  the  little  teacher  see  if  they  are  right,  and 
have  each  child  say  "a  hen"  before  his  hand  is  taken  off  the 
words. 

Ninth.  Say  "I  don't  think  it  nice  to  have  hens  in  school," 
and  rub  one  out,  to  give  the  children  the  idea  of  sending  off. 

Tenth.  Dismiss  by  telling  them  I  will  send  them  off  too. 


READING.— THE    WORD.  123 


THE  LESSON. 

Coming  to  the  front  desk  of  the  row,  where  sits  the  group 
with  which  she  has  decided  to  begin  reading,  the  teacher 
says  quietly,  '  *  This  little  class  may  come  up  here  and  see 
what  I  am  going  to  do,"  stepping,  as  she  speaks,  back  to  the 
blackboard  and  motioning  the  children  to  follow  her.  They 
wonder  a  little  as  to  what  is  coming,  but  go  gladly,  for 
every  lesson  has  been  to  them  a  new  and  pleasing  surprise, 
and  the  teacher  the  good  fairy  who  planned  it. 

Without  another  word  or  look  at  them  she  begins  to 
draw.  The  children,  thus  left  to  themselves,  cluster  around 
her  and  watch  the  shape  growing  rapidly  under  her  hand. 
Presently  a  small  Yankee,  with  a  large  bump  of  language, 
breaks  the  silence  by  remarking  oracularly,  "I  guess  you 
are  going  to  make  a  picture  for  us."  The  teacher  does  not 
seem  to  hear  this,  and  keeps  on  with  her  work. 

"I  guess  it's  going  to  be  a  picture  of  a  hen,"  ventures  a 
bright-eyed  little  girl,  who  has  not  taken  her  eyes  from  the 
drawing  since  it  began. 

Seemingly  deaf  and  dumb,  the  teacher  draws  on. 

"Oh!  I  know  it's  going  to  be  a  hen,"  bursts  out  a  boy 
who  has  got  so  close  to  the  board  that  the  teacher  playfully 
taps  his  nose  with  the  crayon  to  get  him  to  move  out  of 
her  way. 

"Yes,  she's  making  the  tail,"  announces  another  one  of 
the  eager  watchers. 

"  Now  she's  making  the  feet,"  is  the  next  bulletin. 

"It  looks  just  like  a  hen,"  pronounces  a  child  who  has 
been  deliberately  surveying  the  picture  from  a  little  dis- 
tance. 

"It's  done  now,"  decides  the  tallest  girl  of  the  group,  as 
the  teacher  puts  the  last  touch  to  the  top-knot,  and  stands 
back  an  instant  to  observe  the  effect  of  her  work. 

"Stanley?"  she  calls,  turning  toward  a  row  of  last  year's 


124      THE    "QUINCY  METHODS"  ILLUSTRATED. 

pupils,  who  are  sitting  in  their  seats  absorbed  with  some 
pasteboard  animals,  which  they  are  tracing  on  their  slates. 

A  steady,  sensible-looking  little  fellow  quietly  lays  down 
his  pencil,  and  comes  up  to  know  what  the  teacher  wishes. 

"  I  want  you  to  help  me ;  you  are  to  be  my  little  teacher. 
Nellie,"  speaking  to  one  of  the  group  at  her  side,  "you 
may  show  me  the  hen  that  is  on  the  blackboard." 
Nellie  points  to  the  picture. 

1 '  Now  I  am  going  to  put  another  hen  on  the  board  for 
Stanley  to  find,  because  you  don't  know  this  hen,"  writing 
"a  hen"  as  she  speaks. 

Stanley  puts  his  finger  on  it  as  soon  as  it  is  finished,  while 
all  the  little  ones  look  from  the  written  word  to  Stanley,  and 
then  back  to  the  word  again. 

"What  have  you  found,  Stanley?"  inquires  the  teacher. 
"A  hen,"  briskly  replies  the  boy. 

The  teacher,  whose  slightest  movement  is  followed  by 
every  pair  of  eyes  in  the  group,  writes  it  again  a  little  way 
off,  and  then  says : 

"Now  Stanley  and  Nelh'e  have  each  found  a  hen,  and  I 
want  somebody  else  to  find  one.     Carrie,"  selecting  the 
brightest  child  of  the  lot. 
The  girl  unhesitatingly  points  to  the  drawing. 
"But  that  hen  has  been  already  found,"  protests  the 
teacher.    "Nelh'e  showed  it  to  us.     You  can  see  another  if 
you  look,"  she  adds  encouragingly. 

Carrie  stands  a  moment,  and  looks  first  at  the  drawing 
and  then  at  the  words,  and  finally,  having  apparently  de- 
<  i«led  in  her  own  mind  that  they  mean  the  same  thing, 
starts  to  put  her  finger  on  the  nearest  "alien;"  then  prob- 
ably remembering  that  Stanley  had  selected  that,  she 
snatches  away  her  finger,  and  places  it  on  the  word  last 
written,  turning  with  a  quick  smile  of  intelligence  toward 
the  teacher  as  she  does  so. 
The  teacher  cannot  prevent  the  answering  gladness  of  her 


READING.— THE    WORD.  12$ 

own  glance,  but  appeals  instantly  to  her  small  instructor, 
with  a  quick — 

"Is  that  right,  Stanley?" 

"  Yes'm,"  is  the  prompt  decision. 

Not  a  look,  a  motion,  or  a  word  has  been  lost  upon  the 
small  spectators  of  this  scene,  and  inferences  are  being 
drawn  and  conclusions  being  arrived  at,  in  every  brain  of 
the  group.  Meantime  the  teacher  suggests  persuasively— 

"Let's  play  that  I  have  eggs  to  sell,  and  that  I  keep  a 
great  many  hens"  (writing  "a  hen,"  as  she  talks,  on  dif- 
ferent parts  of  the  board),  "and  that  they  are  very  tame; 
so  tame  that  they  will  let  anybody  put  their  hands  right  on 
them  if  they  do  not  hurt  them  and "  (parenthetically)  ' '  of 
course  you  are  gentle  little  boys  and  girls,  and  you  would  be 
kind  to  my  hens,  so  I  will  let  each  of  you  put  your  hand  on 
one." 

The  little  hands  flutter,  for  a  second,  like  birds,  up  and 
down  the  board,  to  find  each,  a  separate  word,  and  then 
settle ;  and  the  eager,  laughing  faces  are  turned  toward  the 
teacher  for  her  approval. 

"Yes,  that's  nice,"  cordially;  "but  you  will  each  need  to 
keep  hold  of  what  you  have,  so  it  won't  get  away,"  she 
adds,  as  two  or  three  take  their  hands  off  the  words  they 
have  found.  "I  will  get  Stanley  to  see  if  you  have  really 
caught  one  of  my  hens."  Then  addressing  Stanley:  "You 
know  you  are  my  little  teacher,  and  you  are  to  have  each 
one  of  these  children  tell  what  they  have  found,  and  then 
you  must  say  if  they  are  right.  We  will  begin  with  Susie. 
What  have  you,  Susie?" 
"A  hen." 

The  teacher  looks  toward  Stanley,  who  asserts  in  most 
dignified  fashion,  "That's  right." 

This  form  of  proceeding  is  repeated  with  every  mem- 
ber of  the  group,  very  much  to  the  enjoyment  of  the  little 
pupils  and  the  satisfaction  of  the  little  pupil-teacher;  then, 


126      THE   "QUINCY  METHODS"  ILLUSTRATED. 

all  being  correct,  the  teacher  resumes  the  reins  of  govern- 
ment gracefully  by  saying,  with  a  smile,  "Thank  you, 
Stanley;  you  may  go  back  to  your  work." 

Addressing  the  group,  as  if  the  idea  had  just  entered  her 
mind,  she  observes:  "I  don't  think  it  looks  well  to  have 
hens  in  the  schoolroom;  I  am  going  to  have  them  driven 
out,"  and  then  proceeds  to  rub  out  one  of  the  words,  add- 
ing: "There,  I've  sent  one  off.  Jimmie  may  drive  one  out 
if  he  wants  to,"  handing  the  eraser  to  him. 

Of  course  he  does.  His  eyes  shine,  his  mouth  opens,  and 
his  tongue,  comes  out  to  work  almost  as  fast  as  his  chubby 
hands. 

"Now,  Edith,  you  may  send  yours  away."  And  so,  one 
by  one,  the  words  are  erased,  some  of  the  shorter  children 
being  lifted  up  by  the  teacher  to  reach  the  hens  "that  flew 
high ;"  and  at  last  the  pleased  little  tots  stand  flushed  with 
their  exertions,  looking  up  at  the  teacher  to  see  what  next. 
She  is  all  ready  for  them,  for,  with  a  merry  twinkle  in  her 
eyes,  she  says:  "You've  sent  all  the  hens  away,  and  now  I 
am  going  to  send  you  away— to  your  seats." 

The  little  people  take  the  joke  and  the  hint,  and  trot  off 
smilingly  to  their  places,  little  dreaming  of  the  vast  domain 
into  which  they  have  just  taken,  so  easily  and  happily, 
their  first  step. 


Notes  and  Comments. 

The  act  of  association  is  accomplished  far  more  easily 
when  the  faculties  are  under  the  influence  of  pleasurable 
excitement  than  when  the  mind  is  perfectly  calm.  Besides, 
whatever  is  enjoyed,  awakens  a  desire  for  repetition.  Hence 
the  great  beauty  of  this  lesson  was  the  delight  it  gave  the 
children,  and  the  next  best  point  its  utter  simplicity.  Be- 
cause of  the  latter  quality,  the  children  were  not  aware  of 
any  difficulty  in  the  steps  they  took;  and  because  of  the 


READING.— THE    WORD.  1 27 

former,  every  faculty  of  the  child  worked  freely  and  at  its 
best,  and  the  lesson  was  unconsciously  absorbed. 

The  device  of  the  young  pupil-teacher  was  excellent,  for 
children  love  children,  and  children  are  impressed  by  chil- 
dren. The  little  child  will  learn  far  more  rapidly  from  one 
of  his  own  age  than  he  will  from  the  most  skilful  or  gifted 
of  grown-up  teachers.  "  We  send  our  children,"  says  Emer- 
son, "to  school  to  the  teacher,  but  it  is  the  pupils  who  edu- 
cate them." 


OHAPTEE  III. 

READING.— THE  SENTENCE. 

THE  thought  being  the  unit  of  mental  action,  it  follows 
that  the  sentence  is  the  unit  of  expression,  and  should  be 
reached,  in  the  teaching  of  reading,  as  soon  as  possible. 
After  a  few  object-words  have  been  learned  (and  the  greater 
the  skill  of  the  teacher  the  less  the  number  of  words  re- 
quired) the  first  sentence  may  properly  be  taught. 

The  following  lesson  is  presented  to  illustrate  how  one 
teacher  took  this— the  next  step. 

PURPOSE  OF  THE  LESSON.— To  lead  the  children  to  associate 
thought  with  written  words  idiomatically  arranged. 

PREPARATION  MADE  BY  THE  TEACHER.—  Originating  the  de- 
vice, planning  the  lesson,  and  practising  the  drawing  and 
writing. 

PREPARATION  MADE  BY  THE  PUPILS.— First.  All  that  they 
know  of  reading. 

Second.  All  the  power  of  oral  expression  that  they  have 
gained  from  four  or  five  years  of  constant  practice. 

PLAN  OF  THE  LESSON.— Begin,  by  having  the  children  look 
out  of  the  window  to  see  a  hen.  [Mem.  Be  prepared  for  the 
worst,  i.e.,  that  they  don't  see  any  and  have  nothing  to  say 
about  a  hen.]  Next,  lead  them  to  say,  "  I  see  a  ben."  Write 
it  on  the  board  and  ask  each  child  to  tell  me  what  I  have 
written.  Then  play  that  that  is  their  story,  and  that  I  will 
o  one  too;  so  get  an  excuse  for  writing  the  sentence 
again.  Afterward  tell  tli'-m  Iliat  my  hen  gets  into  queer 
places,  and  they  may  see  and  ti-11  me  where  she  goes.  Next, 


READING.— THE   SENTENCE.  129 

make  a  picture  of  a  fence  under  the  words  "  a  hen,"  and  ask 
where  my  hen  is  now.  Last,  get  them  to  read  the  whole 
story.  Do  the  same  thing  with  a  ladder,  a  nest,  and  a  basket. 


THE  LESSON. 

The  teacher  stands  by  the  blackboard  with  her  little  class 
— which  she  has  just  called  up — gathered  around  her. 
Looking  at  them  keenly  a  moment,  and  detecting  a  certain 
lack  of  animation  in  their  manner,  she  steps  to  the  door, 
sets  it  open,  and  says  to  the  group,  "I  am  going  to  play 
that  you  are  all  little  kittens.  How  do  kittens  run?" 

"Fast." 

"Quick." 

"Softly." 

"Yes;  fast  and  softly.  Now  let  me  see  which  of  my 
kittens  will  run  fast  and  softly  out  of  the  east  door,  half 
around  the  house,  in  at  the  west  door,  and  get  here  again 
first.  Go!" 

Like  a  flock  of  startled  birds  they  fly,  and  in  two  minutes 
are  back,  panting  and  breathless,  from  their  rapid  run,  but 
all  alive  from  top  to  toe. 

Taking  up  the  crayon,  the  teacher,  without  a  word,  writes 
"a  hen." 

"What  is  it?"  is  her  first  question. 

"  A  hen,"  chorus  the  animated  group. 

"  Go  very  quietly  to  the  window  and  look  out.  Can  you 
see  a  hen?  Come  and  tell  me  in  a  whisper. "  This  by  way 
of  a  quieting  process. 

They  tiptoe  off  and  back,  and  whisper  all  together,  "  No, 
ma'am." 

"Sometimes  we  can  see  hens  from  the  window,"  com- 
ments the  teacher. 
,    A  hand  is  raised. 

"Carrie." 


130      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"I  saw  one  there  this  morning  when  I  came  in." 

Another  hand. 

"Johnnie." 

"There  were  a  lot  out  there  yesterday." 

A  third  child  is  called  upon,  and  affirms,  "I  saw  a  hen 
and  some  chickens  there  the  other  day." 

"  Yes,"  exclaims  a  boy,  forgetting  in  his  eagerness  to  wait 
until  called  upon;  " and  two  of  the  chickens  were  fighting." 

The  teacher's  face  clouds  at  the  gusto  with  which  this  item 
is  given,  and  she  interposes  hastily,  "Chickens  don't  know 
any  hetter,  hut  you  do.  I  hope  I  shall  never  hear  that  any 
of  you  have  been  fighting." 

After  a  little  pause,  to  emphasize  her  words,  she  resumes 
the  lesson  by  saying,  "  But  if  we  could  see  a  hen  out  there,  I 
wonder  what  you  would  say  to  me." 

"A  hen's  out  there,"  is  the  first  response  from  a  small 
sprig  of  Erin. 

"That's  a  hen,"  is  a  little  girl's  answer,  and  "There  is  a 
hen,"  comes  properly  and  deliberately  from  the  careful 
member  of  the  class.  . 

This  is  not  what  the  teacher  wants,  so  she  tries  again. 

4 'How  would  you  know  that  there  was  a  hen  out  there?" 

"  Wo  could  see  it,"  is  the  ready  chorus. 

"Well,  we  will  play,"  plans  the  teacher,  "that  there  is 
one,  right  there  by  the  tree;  now  what  will  you  say  to  me?" 

The  children  all  look  intently  at  the  spot  indicated,  as  if 
seeing  the  imaginary  fowl,  and  turning,  say  simultaneously, 
with  great  impressiveness — 

"I  see  a  hen." 

"I  will  put  what  you  said  on  the  blackboard,"  says  the 
teacher,  and  writes,  " I  see  a  hen."  "Somebody  tell  mo 
wh.it  I  wrote." 

All  the  hands  are  flying. 

"Mary." 

11 1  see  a  hen." 


READING.—  THE   SENTENCE.  13 l 

"Johnnie." 

"I  see  a  hen;"  and  so  on,  till  every  member  of  the  group 
has  read  the  sentence,  and  no  two  with  the  same  tone  or  in- 
flection. 

"That's  your  story,"  decides  the  teacher,  when  this  has 
been  done,  "and  I  am  going  to  have  a  story,  too,  all  to  my- 
self. I  will  write  it  under  here,  and  you  may  see  what 
it  is." 

The  children  read  promptly,  as  soon  as  she  has  written  it, 
"I  see  a  hen." 

"Please  don't  forget  that  this  is  my  hen;  now  she  gets 
into  odd  places,  and  I'll  let  you  see  and  tell  me  where  she 
goes." 

While  she  has  been  telling  about  her  hen,  she  has  been 
making  a  few  rapid  strokes  on  the  board,  under  and  beside 
the  end  of  the  sentence,*  and  as  she  speaks  the  last  word 
the  children  exclaim,  "She's  on  a  fence;"  and  sure  enough, 
there  is  the  fence,  drawn  in  such  a  way  that  the  phrase,  "a 
hen,"  is  just  on  the  top  rail. 

"Yes.  Who  wants  to  read  me  the  whole  story?"  drawing 
her  finger  along  the  whole  line  at  one  stroke  as  she  says  it. 
Everybody,  of  course. 

"Eddie." 

"I  see  a  hen  on  the  fence,"  reads  Eddie  vivaciously. 

Carrie,  Edith,  Charley,  and  Jimmie  are  called  upon  in  turn, 
ea'eh  reading  the  sentence  just  as  Eddie  had  rendered  it,  and 
with  a  good  degree  of  expression.  Nearly  all  this  time  a 
little  grimy  hand  has  been  flourishing  in  the  air  in  such  close 
proximity  to  the  teacher's  face  that  she  has  once  or  twice 
retreated  slightly  to  escape  contact,  but  otherwise  has  taken 
no  notice;  probably  with  an  idea  of  training  its  owner  in 
patience. 


*  Three  strokes  of  the  crayon  made  the  rails,  and  six  more  (two  for  each  of  the 
posts)  finished  two  sections  of  a  very  substantial  and  well-drawn  fence. 


132      THE   "QUINCY  METHODS"  ILLUSTRATED. 

Now  his  enthusiasm  bursts  all  bounds,  and  he  whispers 
energetically,  u  Teacher  I  Teacher!  Mayn't  I  read  it?" 

Assent  is  given.  Mikie  casts  his  eye  along  the  board  once 
more  to  make  sure,  then  thrusting  both  hands  into  his 
trousers  pockets,  straightening  his  small  chunky  figure, 
setting  his  head  on  one  side,  and  throwing  his  chin  into  the 
air,  he  delivers  himself  thus : 

"  I  see  a  hin  on  the  top  of  the  fince." 

This  is  too  much  for  the  teacher's  gravity,  and  turning 
like  a  flash  to  the  board,  she  begins  busily  to  erase  a  part  of 
her  fence  and  draw  in  something  else ;  but  the  children  are 
greatly  impressed,  and  Mikie  has  become  to  them  the  hero 
of  the  hour. 

Before  the  class  gets  over  this  sensation  the  teacher  has 
had  time  to  recover  her  self-control,  convert  the  rails  of  the 
fence  into  the  rounds  of  a  ladder,  by  adding  one  above  and 
one  below,  draw  two  lines,  one  on  each  side,  and  there 
stands  a  ladder. 

She  now  calls  their  attention  to  this  transformation  by 
asking,  "Who  is  going  to  read  about  my  hen  now?" 

After  an  instant's  survey  they  are  ready,  and  the  teacher 
calls  upon  Nellie. 

"  I  see  a  hen  on  a  ladder." 

Then  they  all  read  round  again.  Rapidly  rubbing  out  the 
ladder  she  pauses  an  instant,  to  send  a  keen  glance  around 
the  group  to  see  if  all  are  watching.  Finding  that  one  of 
her  audience  has  turned  his  back  upon  her,  she  silently 
gives  him  a  whirl  and  begins  again. 

Two  quick  curves  from  the  point  of  her  crayon,  a  rub  or 
BO  from  its  side,  and  lo !  a  nest  appears,  and  in  its  centre  are 
the  words  "a  hen."  This  charms  the  children,  and  they 
read  beautifully  the  sentence  thus  created,  "  I  see  a  hen  on 
a  nest." 

Charley,  doubtless  with  an  idea  of  dividing  the  honors 
with  Mikie,  reads,  "  I  see  a  hen  on  a  nest  made  of  hay,"  but 


READING.— THE   SENTENCE.  133 

lacking  the  melodramatic  element  of  the  small  Irishman's 
effort,  it  receives  only  the  tribute  of  the  teacher's  hearty, 
"That's  nice!" 

When  all  have  been  called  upon,  the  artist-teacher,  by 
lengthening  the  lower  part  of  the  nest,  drawing  a  few  bold 
criss-cross  lines  over  the  whole,  to  make  the  material  look 
coarser,  and  adding  a  handle,  the  nest  is  changed  into  a 
basket. 

Thus  still  another  sentence  is  created  for  the  young 
readers,  who  regard  the  skill  displayed,  with  the  greatest 
admiration,  and  read  as  if  they  really  saw  what  they  would 
call  a  "truly  hen"  in  a  "  truly  basket." 

But  the  time  is  up,  is  indeed  a  little  past,  the  interest  of 
the  class  having  held  the  teacher  longer  than  she  intended. 
Upon  discovering  this,  she  wastes  not  a  second  in  preparing 
"to  begin" — "to  commence" — "to  get  ready" — to  dismiss 
the  class,  but  drops  with  a  smile  a  brisk  "Good-by"  into 
their  midst,  and  is  oif  down  the  room  about  her  other 
work,  leaving  the  little  ones  to  find  their  way  to  their  seats, 
for  once,  without  any  further  formality. 

Notes  and  Comments. 

Children  are  very  much  like  grown  people,  only  perhaps 
a  little  more  so,  and  they,  too,  find  it  difficult  to  be  in- 
terested in  that  which  is  not  interesting. 

Aside  from  the  vicious  manner  of  teaching  reading  in 
common  use,  the  aforesaid  fact  is  the  next  most  potent 
reason  for  the  utter  lack  of  expression  complained  of,  in  the 
reading  of  the  pupils  of  our  public  schools.  But  when  a 
teacher  can  create  a  variety  of  interesting  matter  out  of  the 
four  words  forming  the  first  sentence  the  children  read, 
what  necessity  can  there  be  for  any  lack  of  interesting 
matter  to  present,  as  long  as  there  are  blackboards  and 
crayons  to  be  had,  with  women  and  men  of  brains  and  skill 
to  use  them  ? 


134      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

Something  of  a  contrast — this  lesson — both  in  manner  and 
matter,  to  the  old  fashion  of  presenting  a  Webster's  spelling- 
book  to  the  innocent  little  miserables,  and  expecting  them 
to  learn  to  read  (in  spite  of  being  taught  the  alphabet)  such 
exciting  things  as  these — "An  ox."  "Is  it  an  ox?"  "It  is 
an  ox."  To  say  nothing  of  those  later  days,  when  the 
primer  came  to  alleviate  their  sufferings,  filled  with  inspir- 
ing information  like  this — "  The  bug  is  on  the  mug."  "  The 
mug  is  on  the  rug."  "The  rug  is  on  the  tug." 


OHAPTEE  IV. 

READING.— COMBINATION  LESSONS.— I. 

PURPOSE  OF  THE  LESSON.—  To  combine  reading  and  lan- 
guage in  one  and  the  same  lesson. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Thinking  out 
a  plan  and  inventing  the  device. 

Second.  Obtaining  the  necessary  information  regarding 
the  objects  to  be  used  in  the  lesson. 

Third.  Practising  the  rapid  making  and  writing  of  inter- 
esting sentences  on  the  board. 

PREPARATION  MADE  BY  THE  PUPILS.— First.  All  the  practice 
that  they  have  had  in  oral  and  silent  reading. 

Second.  All  the  power  of  expression  that  they  have 
gained. 

PLAN  OF  THE  LESSON.— Put  some  toys  into  my  overskirt; 
call  it  a  grab-bag,  and  let  the  children  take  turns  in  grab- 
bing. Then  have  them  give  me  sentences  about  the  object 
thus  presented.  Next  ask  them  where  it  came  from,  and 
what  it  is  made  of;  thus  lead  them  to  observe  it  more 
closely.  Now  write  the  new  word  (the  name  of  the  object). 
After  the  children  know  this,  write  sentences  containing  the 
new  word,  and  as  many  of  the  old  words  as  I  can  introduce, 
for  them  to  read.  (Mem.  Get  as  many  of  the  sentences 
from  the  children  as  possible.)  Close  by  letting  them  each 
select  a  sentence  and  read  it,  and  send  them  to  their  seats 
to  draw  the  object  on  their  slates. 


136      THE   "QUINCY  METHODS"  ILLUSTRATED. 


THE  LESSON. 

The  teacher  is  standing  at  a  blackboard  at  one  end  of  the 
long  pleasant  room,  having  just  finished  a  reading  lesson 
and  dismissed  the  class. 

After  waiting  a  moment,  to  see  her  young  readers  pick  up 
the  Busy- Work  (some  sliced  pictures),  which  they  find  upon 
their  desks,  and  become  absorbed  in  it,  she  passes  quietly  to 
a  secretary  standing  back  of  the  children's  seats,  from 
which  she  takes  several  things,  cautiously  slips  them  into 
the  gathered-up  folds  of  her  overskirt,  and  returning  to  the 
blackboard,  calls  out  cheerily — 

"The  fifth  group  may  stand,  and  come  to  me." 

The  last  row  of  children,  who  are  completely  engrossed 
with  some  cambric  picture-books,  lay  them  down  reluctantly, 
as  she  speaks,  and  slowly  gather  around  her. 

"  How  many  of  you  ever  went  to  a  fair?"  is  her  first  ques- 
tion. All  the  hands  are  languidly  raised. 

"What  did  you  see  there?"  is  her  next  inquiry. 

The  listless  faces  begin  to  brighten,  and  one  or  two  of  the 
children  show  signs  of  interest. 

"  I  saw  lots  of  men,"  avers  Johnnie. 

"I  saw  some  soldiers,"  declares  Bertie. 

"  I  saw  the  Grand  Army,"  says  Harry. 

"  I  saw  some  ladies  with  white  caps  on,"  is  Clara's  contri- 
bution. 

"  I  saw  them  making  candy,  and  my  mamma  let  me  buy 
some,"  chimes  in  Willie. 

11  The  man  gave  me  some,"  speaks  up  Charlie,  not  waiting 
to  bo  called  upon. 

"  Did  you  see  any  grab-bags?" 

"  Yes'm."  "  Yos'm."  .  "I  did."  "I  did,"  is  the  universal 
response. 

By  UH'H  timo  they  are  all  waked  up,  and  every  one  is  eager 
to  talk. 


READING.— COMBINATION  LESSONS,  137 

"  Tell  me  about  them,"  pursues  the  teacher,  becoming  less 
animated  as  the  class  become  more  so.  All  the  hands  are 
flying,  and  Charlie  being  called  upon,  is  in  such  a  hurry 
that  he  gets  things  mixed,  his  account  running  thus  : 

"Why  you  see,  you  put  your  hand  in,  and  you  pay  the 
man,  and  you  take  out  something  that  you  don't  know  till 
you  open  it." 

"My  papa  let  me  put  my  hand  in,  too,"  bursts  out  Katy 
impetuously. 

"Yes,"  assents  the  teacher,  "wasn't  that  nice?" 

"I  did  too,  and  I  got  a  turtle,"  announces  another  little 
woman. 

Here  the  teacher  interposes.  "Wouldn't  it  be  nice,"  she 
suggests  persuasively,  to  have  a  grab-bag  right  here ;  one  of 
our  own,  and  not  pay  any  money?  but  we  might  put  some 
words  on  the  board  when  we  got  them." 

"  Oh,  do,  do."  "  Please  do,"  is  the  joyful  response  of  the 
little  ones. 

"Very  well,"  smiling  down  upon  them,  "  here's  my  bag,'' 
pointing  to  her  overskirt.  "Who  wants  to  grab  first?" 

Every  hand  is  up  and  fluttering ;  every  arm  is  stretched 
to  its  utmost. 

"Emma"  (selecting  the  quietest  child  of  the  group),  "you 
may." 

The  hands  fall  as  the  group  settles  back  a  little  to  give 
Emma  a  chance  to  grab.  The  teacher  drops  a  fold  or  two 
of  the  top  of  the  overskirt  out  of  her  clasping  hand,  the 
child  thrusts  in  her  arm,  draws  it  out,  and  opening  the 
small  fist,  discloses — a  marble. 

' '  A  marble !"    "A  marble !"  exclaim  the  eager  little  ones. 

"Yes.    Who  will  tell  me  a  story  about  it?    Harry." 

"She  got  a  marble." 

"  Who  got  a  marble?" 

"Emma." 

"What  has  Emma?" 


138       THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  A  marble." 

"  Now  Harry,  tell  me  the  whole  story." 

u  Emma  has  a  marble." 

"Where  is  the  marble,  Nellie?" 

"  The  marble  is  in  her  hand." 

"What  is  Emma  doing  with  the  marble,  Johnnie?" 

"  She  is  holding  her  marble." 

The  teacher  here  takes  the  marble  and  asks,  "Who  will 
make  me  a  story  this  time?  Clara." 

"  Mrs.  C took  Emma's  marble." 

"Tell  me  something  about  it.    What  shape  is  it?    Katy." 

"The  marble  is  round." 

The  quiet  little  girl  raises  her  hand. 

"What  is  your  story,  Emma?" 

"  The  marble  is  a  sphere." 

"That's  nice,"  approvingly.  "How  do  you  know  that  it 
is  a  sphere?" 

"Because  it  will  roll  every  way." 

"  Yes.    Johnnie,  where  did  Emma  get  the  marble?" 

"  Out  of  your  dress." 

"  How  do  you  suppose  it  came  in  my  dress,  Carrie?" 

"I  guess,"  shyly,  "you  put  it  in?" 

"Where  do  you  think  I  got  it  to  put  in,  little  bright- 
eyes?" 

"  Up  there  out  of  the  closet"  (meaning  the  secretary). 

"And  who  knows,"  queries  the  teacher,  "where  I  got  it 
to  put  in  the  closet?  Willie." 

"  Bertie  D brought  it  to  you  for  a  present." 

"  That's  a  nice  sentence,  and  he's  a  nice  little  boy.  Where 
•  liil  lie  got  it,  Charlie?" 

"I  fink  at  the  store,"  ventures  that  cautious  young  gentle- 
man. 

"And  where  did  the  people  at  the  store  get  it,  Carrie?" 

"Made  it,"  is  the  laconic  answer. 

"What  did  they  make  it  out  of,  Clara?" 


READING.— COMBINATION  LESSONS.  139 

Before  the  little  girl  can  answer  a  boy  flings  up  his  arm 
with  an  energetic  "  I  know !  I  know !" 

"Well?"  says  the  teacher,  prisoning  the  dimpled  hand  in 
her  own. 

"Clay." 

"What  is  clay?" 

"The  marble." 

"What  about  the  marble  is  clay?" 

"It  is  made  of  clay." 

"Now,  Johnnie,  begin  again,  and  tell  us  nicely  all  the 
story." 

He  takes  an  instant  to  put  his  sentences  together,  and  then 
announces,  "  The  marble;  it  is  made  of  clay." 

"You  meant  all  right,"  remarks  the  teacher  assuringly, 
after  a  slight  but  sudden  cough,  behind  which  she  hid  her 
amusement  at  the  young  grammarian,  "but  there  was  a 
little  too  much  of  it.  Katie  tell  him." 

"  The  marble  is  made  of  clay." 

"  Yes.  Does  this  marble  look  as  if  it  was  made  of  clay, 
Katie?"  laying  it  in  the  girl's  hand  as  she  speaks. 

"No, "decides  Katie,  regarding  it  attentively,  "it  looks 
like  glass." 

"Can  anybody  tell  me  what  glass  is  made  of?"  No 
answer.  Each  looks  at  the  other,  but  hasn't  a  word  to  say. 
"I  think  I  shall  have  to  tell  you  that.  Glass  is  made  of 
melted  sand  and  ashes."  This  is  received  with  wide-eyed, 
silent  surprise.  "  Would  you  think  that  this  pretty,  bright 
glass  was  made  out  of  sand?" 

"  No'm,"  is  the  wondering  exclamation. 

"All  look  at  the  windows;  isn't  it  queer  that  that  white, 
clear,  clean  glass  could  be  made  out  of  brown  sand  and  dirty 
ashes." 

"  Yes'm,"  with  great  emphasis. 

"  Well,  it  was;  and  when  you  get  to  be  big  boys  and  girls 
you  can  go  over  to  Cambridge  some  day  and  see  them  make 
glass;  out  of  what?" 


1 40      THE  ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TE  D. 

"  Sand  and  ashes." 

"  That's  right;  and  what  is  this?"  holding  it  up. 

44  A  marble,"  in  a  chorus. 

44  Now  I  am  going  to  show  you  how  it  looks  on  the  board. 
What  am  I  going  to  write,  children?" 

"  A  marble." 

"  Help  this  crayon  to  say  it ;  it  hasn't  as  big  a  voice  as  you 
have." 

The  children  pronounce  slowly  as  the  teacher  writes,  giv- 
ing to  each  letter  its  sound  as  the  letter  is  made. 

"Let's  put  a  marble  here  in  this  corner"  (going  to  the 
other  side  of  the  board),  "  help  me,  everybody,"  which  they 
do  very  earnestly.  "  Now  I'd  like  one  down  here,"  and  she 
writes  the  word  near  the  lower  edge,  aided  as  before  by  the 
little  ones,  who  follow  her  like  a  lot  of  kittens,  sometimes 
almost  running  under  her  feet  in  their  desire  to  be  close. 
"  If  you  know  what  this  is  that  I  write,  you  may  tell  me." 
She  begins  to  write  "  a  marble"  again,  and  the  children  call 
it  out  before  she  can  finish  the  word.  "  Why,"  laughingly, 
41  you  got  that  away  from  me.  See  if  you  know  what  this 
is?"  and  she  writes,  "I  see  a  marble."  All  are  ready  and 
anxious.  4  4  Charley,  you  may  tell. " 

He  reads  with  great  zest.  The  teacher  begins  to  write 
again,  saying,  uHere  is  one  for—,"  pausing  till  she  has 
finished,  and  turning  to  look  for  the  possible  inattentive 
one,  but  he  is  not  there;  every  eye  is  bright,  every  child 
working.  44  Katie." 

44 1  have  a  marble." 

44  What  will  you  say  to  mo  now?"  holding  up  the  marble. 
44  Bertie." 

44  You  have  a  marble." 

This  she  rapidly  writes,  the  children,  who  are  reading 
silently,  following  her  hand  almi^  MS  if  they  picked  the 
words  off  the  board  as  fast  as  she  formed  them. 

44  Willie,"  she  calls,  as  she  puts  her  period  in  its  place. 


READING.— COMBINATION  LESSONS.  14! 

He  reads  the  sentence.  "Let's  see  what  I  think,"  she  sug- 
gests, beginning  again  to  write. 

If  they  needed  any  stimulus  this  would  furnish  it,  and  ap- 
parently each  childs  reads  (silently)  as  fast  as  the  teacher 
writes,  "  I  think  the  marble  is  pretty."  They  all  signify 
their  readiness  to  be  called  upon,  the  instant  she  makes  the 
final  dot.  Johnnie  is  selected,  and  reads  so  much  as  if  he 
really  agreed  with  her,  that  the  teacher  turns  upon  him  with 
the  sudden  query,  "And  you  think  the  marble  is  pretty?" 

"Yes'm." 

"Well,  I  think  something  else;"  and  she  writes,  "I  think 
the  marble  will  roll."  "Carrie,  you  may  have  that,"  and 
Carrie  reads. 

"Emma  may  take  the  marble  and  see  if  it  is  true."  The 
girl  goes  to  the  table,  followed  by  some  of  the  children,  and 
rolls  the  marble. 

"You  may  all  tell  me  this,"  remarks  the  teacher,  calling 
their  attention  again  to  the  board. 

"I  see  a  marble  on  the  table,"  chorus  the  group,  as  she 
periods  her  sentence. 

* '  Who  wants  to  have  this  ?"  writing  rapidly.     ' '  Willie. " 

He  reads  glibly,  "  I  can  see  a  red  marble." 

"Look,"  says  the  teacher,  handing  the  marble  to  him, 
"can  you?" 

"No'm." 

"Look  again  at  the  board,  and  tell  me  what  it  says." 

Willie,  after  a  careful  study,  in  the  course  of  which  he 
puts  his  hand  under  each  word,  as  if  that  helped  him  to 
know  what  it  was,  reads  slowly,  "I  can  see  red  in  the 
marble." 

"Is  it  true?"  inquires  the  teacher,  nodding  toward  the 
object  in  question. 

"Yes'm,"  after  a  quick  glance. 

"  What  then  can  you  see  in  the  marble?" 

"Bed." 


142       THE  "QUINCY  METHODS"   ILLUSTRATED. 

11  Do  you  see  anything  else?" 

In  a  second  Willie  is  the  centre  of  a  cluster  of  little  ones, 
all  observing  the  marble  with  attentive  eyes,  while  they  call 
out  as  fast  as  they  can  speak,  ' '  Blue. "  ' '  Yellow. "  * '  Pink. " 
"  Purple."  "Green."  "White." 

"  What  do  you  call  these?"  is  the  next  question. 

"Colors." 

"  Yes.    Can  you  see  anything  else  in  the  marble?" 

4 'Oh,  I  can!"  exclaims  a  little  girl,  putting  her  head  so 
close,  that  Willie  finds  his  eyes  full  of  fluffy,  flaxen  hair— 
"lines." 

"What  kind?"  is  the  query. 

"Curved,"  chorus  the  class. 

"That's  nice,"  comments  the  teacher,  who  has  been  busily 
writing  while  they  were  looking  at  the  marble.  "Now  each 
of  you  may  find  the  sentence  you  would  like  best  to  read, 
and  hold  it  till  I  call  your  name."  The  children  dart  to- 
ward the  board  like  a  flock  of  swallows;  the  hands  circle 
around  the  sentences  a  second,  then  come  to  rest,  and  the 
teacher  begins  calling  upon  her  eager  little  readers. 

"  Carrie  tell  us  what  her  sentence  says." 

"  I  can  see  red  in  the  marble,"  affirms  Carrie. 

"Yes,  I  think  you  can,  so  I  shall  have  to  give  you  the 
sentence"  (handing  her  the  eraser),  "and  when  you  have 
taken  it,  come  to  me  and  I'll  whisper  something  in  your  ear. 
Willie  tell  us  what  he  has  found." 

Carrie  falls  to  rubbing  the  board  with  great  energy,  and 
Willie  reads  his  sentence.  By  the  time  he  has  informed  the 
class  that  "The  marble  will  roll  every  way,"  Carrie  has 
rubbed  her  space  at  the  board  till  it  almost  shines. 

The  teacher  now  beckons  the  little  girl  forward,  and  bend- 
ing down,  whispers  in  her  ear  that  which  sends  her  down 
the  aisle  with  a  face  all  dimpling  with  smiles. 

The  next  child  is  called  upon  to  read.  Willie  erases  his 
line  of  writing  and  receives  also  the  whispered  direction, 


READING.— COMBINATION  LESSONS.  143 

which  affects  him  in  the  same  pleasant  fashion  that  it  did 
Carrie. 

So  one  by  one  they  read,  erase,  are  whispered  to,  and  start 
off  for  the  back  of  the  room. 

Having  reached  the  secretary,  they  open  a  drawer,  take 
therefrom  a  marble,  pass  to  their  seats,  and  begin  busily  to 
draw  the  object  about  which  they  have  just  been  talking, 
learning,  and  reading. 

Notes  and  Comments. 

The  preceding  is  a  most  excellent  illustration  of  the  way 
in  which  subjects  may  be  combined.  Here  the  teacher  be- 
gan with  a  pleasing  presentation  of  the  object  by  means  of 
an  attractive  device.  This  stimulated  thought,  and  led  to 
expression  on  the  part  of  the  pupils,  and  thus,  first,  there 
was  given  a  lesson  in  language. 

In  the  course  of  the  conversation  the  teacher  found  herself 
obliged  to  impart  some  information  to  the  children  (because 
they  could  not  discover  it  for  themselves),  and  so,  second, 
they  received  an  Object  Lesson. 

Next,  they  read  the  sentences  that  they  had  helped  to 
make,  and  in  doing  this  were  taught  lesson  third,  Beading— 
after  which  they  went  to  their  seats  to  draw  the  object, 
which  made  the  fourth  lesson— one  in  Drawing. 

In  an  hour  from  that  time  this  same  class'  was  being 
taught  how  to  write  the  new  word — the  name  of  the  ob- 
ject— and  thus  received  lessons  fifth  and  sixth,  Writing  and 
Spelling. 

Here  was  economy,  not  of  time  merely,  but  of  effort,  both 
on  the  part  of  teacher  and  pupils,  for  the  interest  aroused, 
and  impetus  gained,  in  one  lesson — the  first — carried  the 
children  easily  and  happily  through  all  the  difficulties  of 
five  others. 


CHAPTER  V. 

READING.-COMBINATION  LESSONS.-IL 

THE  day  following  the  preceding  lesson,  and  twenty-four 
hours  *  later,  the  teacher  having  called  the  same  little  group 
to  her  side,  they  are  greatly  rejoiced  to  see  again  her  im- 
provised grab-bag. 

Their  delight  makes  itself  manifest  in  various  ways. 
First,  they  all  begin  to  talk,  of  course,  and  out  of  this  con- 
fused and  rather  loud  murmur  can  be  distinguished,  "  Oh, 
goody!  goody!"  "Ain't  I  glad!"  etc.  A  few  gently  clap 
their  hands  together,  and  one  little  girl,  more  demonstrative 
than  the  others,  lays  her  face  caressingly  upon  the  hand  that 
holds  the  overskirt  in  position,  while  a  boy,  half  forgetting 
time  and  place,  begins  to  hop  up  and  down. 

Luckily  his  bare  feet  make  little  noise,  but  upon  his  head 
the  teacher  lays  her  hand,  as  she  says,  "Bertie,"  nodding 
toward  a  quiet-looking  little  fellow  standing  upon  the  outer 
edge  of  the  group,  "  you  may  grab  first  this  time." 

The  pleased  child  steps  forward,  puts  in  his  hand,  feels 
around  a  little,  apparently  finds  something,  drops  it,  picks 
up  something  else,  and  drawing  it  out,  holds  it  up  before 
the  curious  children. 

"  A  bed  1"    "  A  bed  l"  they  all  exclaim. 

"  Will  it  do  for  us  ?"  asks  the  teacher. 

41  Oh,  no,  it's  too  little,"  they  answer  all  together. 

"  It  might  do  for  a  dolly,"  suggests  the  baby  of  the  class. 

•  This  class  has  hod  two  reading  lessons  in  the  mean  time. 


READING.— COMBINATION  LESSONS.  H5 

"So  it  might,"  agrees  the  teacher.  "Let  us  see,"  going 
to  her  table  drawer  and  returning  with  a  tiny  china  doll. 
"  Where  is  the  boy  with  the  bed?"  as  she  rejoins  the  group. 
Bertie  holds  up  the  bed,  which  the  children  have  been  pass- 
ing around  to  be  looked  at,  and  the  teacher  lays  the  doll 
upon  it,  amid  the  "  Ohs!"  and  "  Ahs!"  of  the  children. 

"Perhaps  that  was  the  doll  the  bed  was  made  for,"  re- 
marks the  teacher,  ' '  but  I  can't  tell  till  I  know  all  about  the 
bed.  Who  is  ready  to  tell  me  something?  Johnnie." 

"The  bed  is  little." 

1  *  Yes,  the  bed  is  small.    Katie. " 

"The  bed  is  pretty." 

"I  think  so.    Harry." 

"  The  bed  has  four  legs." 

Here  is  a  chance  for  a  point  in  number,  and  she  makes  it 
thus,  turning  to  Harry:  "And  how  many  have  you?" 

"Two." 

"How  many  more  legs,  then,  has  the  bed  than  you?" 

"Two." 

"Emma,  your  story." 

"The  bed  is  good  to  sleep  on." 

' '  That's  nice.    Carrie. " 

"  The  bed  was  in  the  bag." 

"So it  was.    Willie." 

"The  bed  is  made  of  wood." 

*  *  Yes.    How  is  it  made  ?    Clara. " 

"I  guess  it  is  pasted,"  replies  that  young  damsel  cau- 
tiously, adding  after  a  moment's  inspection,  "I  don't  see 
any  nails. " 

"/know,"  says  Charley,  with  an  air  of  imparting  import- 
ant information;  "it's  sticked  together  with  mucilage." 

"No,  it  is  stuck  together  with  something  stronger — glue," 
corrects  the  teacher,  both  as  to  matter  and  manner. 

"It's  broke,  anyhow,"  insists  the  crestfallen  young  man. 

The  logic  of  facts,  as  well  as  that  of  the  small  logician, 


146      THE   "QUINCY  METHODS"  ILLUSTRATED. 

being  against  the  teacher  this  time,  she  completely  ignores 
both  his  grammar  and  his  logic,  and  retreats  behind  a  fire  of 
hasty  questions. 

"Where  do  we  get  wood?" 

"Out  of  the  trees,"  is  the  ready  response. 

' '  Where  are  the  trees  ?    Katie. " 

"In  the  field." 

"  Was  this  little  bed  made  from  a  tree  too?" 

"Yes'm." 

"Just  think,  children,  everything  that  is  made  of  wood 
was  once  out  in  the  fields  growing  in  trees.  Watch  the 
crayon  now,  it  is  going  to  say  something  you  never  saw  be- 
fore; this  word  says  'Bertie,'"— as  she  writes  it — "There, 
Willie,  read  it  to  me." 

"  Bertie  has  a  cunning  little  bed." 

"Who  will  find  the  word  that  tells  us  who  had  the  bed. 
Clara."  She  puts  her  finger  on  a  word.  "What  is  it?" 

"Bertie." 

"  I  want  to  know  the  word  that  tells  what  kind  of  a  bed  it 
was.  Johnnie."  He  points  to  "little."  "Children,  what 
is  it?" 

"Little." 

"  There  is  another  word  which  means  almost  the  same  as 
little;  where  is  that?"  Every  hand  points  to  "cunning." 
"  Tell  me  what  it  is." 

"Cunning." 

"I  am  going  to  write  something  about  Mrs.  C.  She 
writes,  "Mrs.  C.  put  a  doll  on  the  bed."  "Who  will  tell 
me  what  I  wrote?"  and  Harry  reads. 

"  Find  me  that  which  tells  who  put  the  doll  on  the  bed. 
Charley. "  He  points  to '  *  Mrs.  C. "  "  Now  point  to  the  word 
that  says  what  I  put  on  the  bed."  Bertie  points  to  "doll." 
"  Can  any  one  show  me  the  word  that  tells  what  I  did?" 
All  point  to  "  put."  "  Now  it  is  time  for  some  one  to  grab 
again.  Charley  may,"  this  evidently  with  a  view  to  cheer 


READING.— COMBINATION  LESSONS.  147 

ing  up  that  individual.  He  brightens  decidedly,  puts  in  his 
hand,  and  brings  out  a  toy  pitcher. 

"  What  did  you  get,  Charley?" 

"  I  got  a  doll's  pitcher." 

"  Tell  me  something  about  it,  Carrie— tell  me  nicely,  now." 

"  The  pitcher  is  white." 

"Emma." 

"The  pitcher  has  a  nose  and  a  handle." 

"  What  is  your  story,  Johnnie?" 

"It  is  Mrs.  C.'s  pitcher." 

"Yes.    Another  story,  Katie." 

"  The  pitcher  will  break." 

"  I  guess  it  would  if  you  should  drop  it.  Clara  has  some- 
thing to  tell  us;  what  is  it?" 

"  My  mother  has  a  pitcher." 

"  I  thought  so.    Willie,  your  story." 

"  The  pitcher  is  small." 

"What  is  the  handle  for,  Bertie?" 

"  To  carry  it  by." 

"  Wouldn't  the  pitcher  be  just  as  nice  without  the  handle?" 

"  No,  because  I'd  have  to  carry  it  so,"  taking  hold  of  the 
nose. 

"  The  crayon  is  going  to  talk,  and  I  will  help  it  this  time," 
pronouncing  the  word  'pitcher'  slowly  as  she  writes  it. 
"  What  did  the  crayon  say?" 

"Pitcher. 

"Whose  word  is  it?" 

"  Charley's." 

* '  Yes.  I'll  lay  it  upon  this  shelf, "  drawing  a,  line  under 
the  entire  word.  "I  am  going  to  say  something  about 
Charley's  word  now.  What  is  his  word?" 

"Pitcher." 

"The  teacher  writes,  "  Charley  will  let  us  see  his  pitcher." 
"Clara,  read."  She  does  so.  "You  told  me  that  so  well, 
that  I  am  going  to  let  you  grab  next." 


148       THE  "QUINCY  METHODS"   ILLUSTRATED. 

Clara  draws  a  card,  and  begins  her  own  inspection  of  it 
before  she  shows  it  to  the  class.  T^ose  on  the  outer  circle  of 
the  cluster  eagerly  ask,  "What  did  she  grab?"  "What  is 
it,  teacher?"  This  reminds  Clara,  and  she  holds  it  above  her 
head,  turning  it  over,  to  show  both  sides. 

1 '  A  card. "    "A  card. "    "A  pretty  card, "  is  the  chorus. 

"Tell  me  something  about  it,  to  write,"  is  the  teacher's 
first  request.  ' '  Emma. " 

"  There  are  roses  on  the  card." 

"What  else  has  roses  in  this  room?" 

"The  dog !  the  dog !"  exclaim  the  class,  pointing  to  a  black 
Newfoundland  lying  by  the  door,  with  roses  tucked  under 
his  collar. 

"Harry." 

"  The  card  is  white." 

"Bertie." 

"The  card  is  thin." 

"Johnnie." 

"  The  card  is  Clara's." 

"Yes,  and  this  little  mark" — making  an  apostrophe — "is 
what  tells  us  that  something  belongs  to  somebody.  Who 
does  the  card  belong  to?" 

"Clara." 

"  Then  I  will  put  it  here,"  inserting  it  in  its  place  as  she 
speaks,  the  class  watching  her  intently  all  the  time.  "Willie 
read  me  this,"  pointing  to  the  first  sentence  about  the  card. 
"Charley  tell  us  what  this  says,"  indicating  the  last. 
"Katie,  tell  these  two,"  pointing  to  the  second  and  third. 
"We'll  grab  again.  Carrie,  it  is  your  turn."  Carrie  grabs 
a  doll.  "Just  see  what  she  has." 

"O-o!  O-o-ol"'  "A  doll!"  "A  dolly!"  are  the  varied 
ejaculations  with  which  this  is  received.  The  doll  was  well 
worthy  of  the  admiration  it  excited,  being  dressed  in  pink 
silk  very  much  flounced,  and  decorated  with  a  blue  sash. 

"  I  can  see  something" — remarks  the  teacher,  stepping  to 


READING.— COMBINATION  LESSONS.  149 

the  board — "  that  has  two  legs,  two  arms,  two  eyes,  and  two 
red  cheeks." 

"A  doll!  a  doll!" 

"And  this  is  the  way  it  looks,"  writing  it.  "Can  you 
read  me  this  story  about  it?"  writing  as  she  speaks,  "  I  wish 
I  had  a  doll."  Everybody  seems  to  be  able,  as  all  hands  go 
up.  "Carrie." 

She  reads,  not  suspecting  the  joke,  and  the  children  all 
laugh  to  hear  her  say  it  with  such  earnestness,  when  she 
holds  a  doll  in  her  hand. 

"Everybody  find  a  sentence  to  read  me,"  is  the  next  de- 
mand. Each  selects  again,  and  reads.  "Now,  who  will  be 
the  first  to  ask  me  a  question  about  the  things  we  have 
grabbed?  Harry." 

"  Have  you  a  card?" 

"  No,  but"— she  turns  and  writes — "  I  wish  I  had  a  card." 

This  pleases  the  children,  who  read  silently,  and  then  put 
up  their  hands,  each  eager  to  ask  their  question. 

"Katie." 

"Can  you  see  the  doll?" 

The  teacher  writes,  "I  can  see  the  doll."     "Johnnie." 

"  Can  you  play  marbles?" 

" I  do  not,"  is  written  in  answer;  then  with  a  glance  over 
her  shoulder  she  explains,  "Children,  this  word  says 
'play,' "  writing  it  as  she  speaks,  and  finishing  the  sentence 
with  the  word  k '  marbles. "  ' '  Emma. " 

"Have  you  a  glass  pitcher  at  home?" 

The  answer,  "I  have  a  pitcher  there,"  is  soon  upon  the 
board. 

"Who  does  the  card  belong  to?"  asks  "Willie. 

"The  teacher  writes,  "The  card  is  Clara's,"  watching  the 
class  closely,  to  see  if  they  notice  her  sign  of  the  possessive, 
and  reading  in  their  faces  that  they  do,  she  calls  upon 
Bertie  for  his  question. 

"Where  is  the  little  bed?" 


150      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  Bertie  has  it  in  his  hand,"  is  the  written  reply,  greatly 
to  that  young  gentleman's  satisfaction  at  seeing  his  name  in 
writing  again.  When  all  have  asked  a  question,  and  been 
answered  on  the  board,  the  sentences  are  read  by  the  class 
as  called  upon. 

Then  the  teacher,  taking  all  the  things  which  the  children 
have  drawn  from  the  grab-bag;  including  the  marble,  in  her 
hands,  says,  ''How  many  objects  have  I?" 

"Five." 

"  What  is  this  made  of?"  holding  up  the  marble. 

"  Glass." 

"My  mamma  has  some  dishes  made  of  glass,"  observes 
Willie. 

"Has  she?    What  is  glass  made  of?" 

"Melted  sand  and  ashes,"  calls  out  Harry,  eager  to  show 
that  he  has  not  forgotten.  He  gets  an  approving  pat  on  his 
curly  head  for  this,  as  the  teacher  goes  on.  "And  this?" 
touching  the  bed. 

"Wood,"  is  the  instantaneous  answer. 

"  I  think  mine  is.  Can  any  one  tell  me  what  this  is  made 
of?"  holding  up  the  card. 

"  Paper,"  is  the  quick  reply. 

"What  is  paper  made  of?"  No  answer  this  time.  "  What 
does  mamma  do  with  the  old  rags?"  is  the  next  query. 

"She  sells  them  to  the  rag-man,"  says  Clara. 

"And  what  do  they  make  out  of  old  rags?" 

"They  make  paper  sometimes,"  is  Emma's  half -confident 
remark. 

"  Yes,  they  grind  the  rags  up  very  fine,  and  after  working 
with  them  a  great  many  ways,  they  make  paper  out  of 
them.  Now  tell  me  what  is  this"  (the  card)  "  made  out  of?" 

"  Cloth,"  in  a  quick  chorus. 

"  Tell  me  something  else  made  of  cloth." 

"Your  dress!"  exclaims  Johnnie,  before  the  others  get  a 
chance. 


READING.— COMBINATION  LESSONS.  !$! 

"Nice  boy,  so  it  is.  Here  is  something  made  of  glass, 
what  is  it?"  She  writes  "a  marble,"  and  the  class  read  it 
aloud  before  she  can  finish  making  the  last  letter.  "Here 
is  something  made  of  cloth."  She  draws  in  a  second,  almost, 
a  card,  and  writes  her  name  in  the  centre,  which  greatly 
pleases  the  children.  "Here  is  something  that  was  once 
part  of  a  tree,"  writing  "a  bed,"  and  calling  upon  them  to 
read  it.  "Now,  I  am  going  to  put  on  a  hard  word;  you 
will  have  to  study  for  this,"  beginning  to  write  again.  Thus 
challenged,  the  children  are  all  on  their  mettle,  and  ab- 
solutely shout  out  "pitcher"  before  she  gets  it  half  written. 
1 '  There,  you  snatched  it  away  from  me ;  you  are  getting  to 
be  too  smart,"  with  an  air  of  mock  indignation.  "  Go  away. 
Good-by." 

This  joke  is  keenly  relished  by  the  little  people,  who  go 
laughingly  to  their  seats,  charmed  with  the  teacher,  pleased 
with  their  lesson,  and  well  satisfied  with  themselves. 

Notes  and  Comments. 

This  second  combination  lesson  is  introduced — 

First.  To  show  how  a  pleasing  device  may  be  used  more 
than  once  to  good  advantage. 

Second.  To  demonstrate  the  fact  that  the  skilful  teacher 
of  language  can  lead  children  while  still  very  young,  to  begin 
to  classify  words,  laying  thus  the  foundation  for  that  much 
studied  but  little  understood  subject— grammar. 

Third.  To  illustrate  the  fact  that  the  more  an  exercise  in- 
volves the  personality  of  the  pupils,  the  more  attractive  it  is 
to  them,  and  the  better  should  be  the  results. 

As 'witness  the  bit  of  language- work  introduced  by  means 
of  questions  asked  by  the  pupils,  and  answered  in  writing 
by  the  teacher.  The  longest,  most  complex,  and  best  con- 
structed sentences  gained  at  all  were  given  then,  when  the 
pupils  were  completely  absorbed  by  the  thought  and  entirely 
unconscious  of  any  effort  at  expression. 


CHAPTER    VI. 

READING.— AN  ADVANCED   LESSON  IN  SCRIPT. 

READING  and  Language  must  always  go  hand  in  hand, 
they  cannot  be  separated;  but  their  constant  interchange 
is  most  noticeable  in  Primary  work. 

At  first,  it  is  manifest,  Reading  does  not  appear.  Be- 
ginning with  Language,  all  the  preparatory  work  is  purely 
conversational,  and  the  first  lessons  in  Reading  consist  of 
considerable  conversation  and  very  little  reading. 

As  the  skill  of  the  pupils  in  their  new  acquisition  (read- 
ing) increases,  the  amount  of  language  work  decreases,* 
until  finally— toward  the  end  of  the  first  year — the  time  of 
the  lesson  is  devoted  almost  entirely  to  reading,  the  conver- 
sation being  mainly  confined  to  that  done  by  the  teacher 
for  the  purpose  of  introducing  the  sentences  in  an  interest- 
ing manner. 

The  lesson  which  follows  is  one  given  the  last  part  of  the 
first  year,  just  a  little  before  the  children  are  transferred 
from  the  blackboard  to  the  primer. 

One  Friday  morning  in  May,  1883,  Barnum's  menagerie, 
including  the  celebrated  elephant  Jumbo,  passed  through 
the  town  of  Quincy  on  the  train,  en  route  from  New  York 
to  Boston. ,  Of  course  every  child  in  the  place  big  enough 
to  go  alone,  who  could  gain  the  requisite  permission  or  pro- 
cure the  necessary  funds,  was  going  into  Boston  the  next 
day  to  see  Jumbo,  and  of  course  every  boy  and  girl  was 
wild  with  excitement  in  consequence. 

*  This  IH  true  only  of  lemons  In  Reading  per  se,  and  not  of  exercises  intended  to 
Combine  Reading  with  Language. 


READING.— AN  ADVANCED   LESSON  IN   SCRIPT.       153 

It  goes  then  without  saying,  that  every  teacher  in  town 
found  his  or  her  skill  taxed  to  the  utmost,  to  hold  the 
children  to  their  work  that  day. 

The  lesson  in  Eeading  here  given,  will  show  how  one 
teacher  managed  to  accomplish  this. 

PURPOSE  OF  THE  LESSON.— First.  To  train  children  to  look 
through  sentences  instantly,  and  grasp  the  thought  behind 
them. 

Second.  To  take  advantage  of  an  intense  interest  previ- 
ously aroused,  and  use  it  for  this  purpose. 

PREPARATION  MADE  BY  THE  TEACHER.— General—  (1)  All  the 
knowledge  of  child  nature  she  possessed. 

(2)  All  the  training  in  skill  which  she  had  ever  received. 

Special — (1)  Originating  the  bright  idea  of  using  Jumbo 
for  a  subject. 

(2)  Thinking  up  her  varied  and  attractive  sentences. 

(3)  Writing  them  many  times  very  rapidly  and  plainly. 
PREPARATION  MADE  BY  THE   PUPILS.— First.    Their  natural 

curiosity  concerning  the  animal. 

Second.  Whatever  power  they  have  gained  in  reading  at 
sight. 

PLAN  OF  THE  LESSON.— First.  Introduce  and  write  the  new 
words — Jumbo  and  elephant. 

Second.  Write  and  have  read,  as  many  sentences  as  the 
time  will  permit. 

N.  B. — (1)  Introduce  the  sentences  without  more  talking 
than  is  absolutely  necessary. 

N.  B. — (2)  Keep  the  pupils  reading  (if  possible)  all  of  the 
time. 

Third.  Manage  to  present  the  sentences  in  such  a  way 
that  the  children  will  be  eager  to  know  what  they  mean, 
and  so  will  read  them  rapidly. 


154      THE   "QUINCY  METHODS"  ILLUSTRATED, 


THE  LESSON. 

It  is  the  advanced  room  of  the  lowest  Primary  Grade. 
Nearly  every  pupil  is  in  his  seat  at  five  minutes  before  nine, 
but  not  still ;  excitement  is  in  the  air,  and  restlessness  pos- 
sesses the  souls  and  bodies  of  the  seventy -five  boys  and  girls 
here  assembled. 

As  the  bell  rings,  the  teacher,  who  has  been  studying  the 
situation,  steps  to  the  blackboard,  and  with  the  laconic  re- 
mark, "  This  is  what  I  am  thinking  about,"  begins  to  draw. 

At  first  only  a  few  watch  to  see  what  she  is  making,  but 
as  she  goes  on,  her  audience  increases,  until  in  less  than  a 
minute  and  a  half,  every  eye  in  the  room  is  fixed  upon  the 
figure  growing  under  her  hand.  Another  half  minute  and 
the  clumsy  shape  is  finished,  a  blanket  with  a  star  in  each 
corner  and  the  name  "Jumbo,"  printed  in  the  middle,  is 
made  upon  it,  and  the  drawing  is  complete.  The  room  is 
perfectly  quiet  by  this  time,  and  she  has  the  absorbed  at- 
tention of  the  entire  seventy-five. 

"  What  is  it?"  is  her  first  inquiry. 

"  Jumbo,"  is  the  instantaneous  reply. 

"Yes,  that's  his  name,  but  what  is  it?" 

"  An  elephant,"  is  the  quick  chorus. 

"  Tell  me  something  about  him,  any  one."  Then  comes  a 
sudden  storm  of  answers. 

"  The  elephant  has  a  trunk." 

"  The  elephant  has  four  legs." 

"  The  elephant  is  large." 

"The  elephant  has  long  ears." 

"  The  elephant  is  an  animal." 

"  The  elephant  has  two  large  teeth." 

"The  elephant  has  a  tail." 

"The  elephant  has  two  eyes." 

"  The  elephant  is  gray." 


READING.— AN  ADVANCED  LESSON  IN  SCRIPT.      155 

"  The  elephant  is  covered  with  brown  skin." 

"The  elephant  eats  peanuts." 

"  The  elephant  has  a  blanket." 

"The  elephant's  name  is  Jumbo." 

"That  will  do,"  decides  the  teacher.  "Who  can  tell  me 
what  the  elephant  is  good  for?" 

"To  carry  boys  and  girls,"  shouts  an  impulsive  youngster, 
not  noticing  in  his  haste  that  this  last  was  not  to  be  an- 
swered en  masse. 

His  start  at  hearing  his  own  voice  shows  this  plainly,  so 
with  only  an  admonitory,  "  Eaise  your  hands  now,  if  you've 
anything  to  say,"  the  teacher  calls  upon  Maggie. 

"To  carry  heavy  things,"  is  that  little  girl's  idea. 

"Yes.    Anything  else?    Tommy." 

Just  at  this  instant  the  gong  strikes,  and  obedient  to  the 
signal,  the  children  all  sit  up  in  position  and  fold  their 
hands  on  the  desk,  in  readiness  for  the  devotional  exercises. 

The  teacher  opens  her  Bible  and  reads, — "  The  Lord  is  my 
shepherd ;  I  shall  not  want.  He  maketh  me  to  lie  down  in 
green  pastures;  He  leadeth  me  beside  the  still  waters." — 
Then  without  another  word  she  begins  to  sing.  If,  in  the 
"green  pastures,"  these  little  children  saw  the  elephant 
lying,  instead  of  the  lamb,  and  from  their  "still  waters"  he 
filled  that  wonderful  trunk  of  his,  what  harm?  It  would 
only  make  more  real  for  them  the  Psalmist's  lovely 
imagery. 

After  the  first  song,  "Lambs  of  the  Flock,"  follows  "We 
are  Little  Travellers,"  in  which  theh"  feelings  get  so  much 
the  better  of  them,  that  their  feet  begin  to  go,  as  if  already 
on  the  road  to  Boston.  This  is  a  little  more  hilarity  than 
even  a  New  Method-ist  can  stand,  and  just  as  the  children 
are  opening  their  mouths  to  begin  the  second  stanza,  she 
sings,  hardly  above  her  breath: 

"  Not  a  single  reading  lesson, 
Not  a  word  to  spell," 


156      THE   "QUINCY  METHODS"   ILLUSTRATED. 

This  sudden  switch  throws  them  off  the  track  for  a 
moment,  but  the  teacher's  face  is  perfectly  demure,  and  the 
song  a  great  favorite,  so  they  pick  themselves  up  and  join 
in;  and  by  the  time  she  comes  to  the  line, 

"Funny  green  schoolhouse 
Without  any  bell," 

they  have  caught  the  spirit  of  the  dainty  thing,  and  are 
singing  softly,  airily,  sweetly. 

They  are  so  completely  toned  down  by  the  time  this  is 
finished,  that  the  teacher  leads  off  with  the  "Menagerie 
Song,"  by  way  of  a  safety-valve.  At  the  close  of  this  she 
has  her  class  well  in  hand,  and  the  regular  work  of  the  day 
begins. 

The  fifth  group  are  set  to  copying  a  sentence  from  the 
blackboard,  each  anxious  to  have  a  daisy  slate— that  is,  a 
slate  which  shows  such  good  writing  that  when  the  teacher 
comes  to  examine  it  she  will  sketch  a  daisy  with  colored 
crayons  in  the  corner.* 

The  fourth  group  draw  vertical  lines  a  foot  long  and  an 
inch  apart,  upon  the  blackboard,  while  the  third  go  with 
the  trainer  to  the  lower  end  of  the  room  for  a  language 
lesson  upon  a  picture. 

The  second  division  are  told  to  copy  and  work  out  this 
problem  (which  they  find  upon  the  board  in  elegant  hand- 
writing): "A  little  girl  has  eight  dolls  and  only  four  doll- 
houses  ;  how  many  dolls  must  she  keep  in  every  house  if  she 
has  the  same  number  in  each?"  That  is,  they  are  to  illus- 
trate the  answer  by  drawings  instead  of  figures,  t 

The  teacher  having  seen  the  others,  all  hard  at  work,  calls 
out  the  first  group  (who  have  been  kept  from  mischief  in 
Hi.-  HP  mtimo  by  being  set  to  wash  their  slates)  to  the  black- 
board, for  their  reading  lesson. 

*  It  takefl.thiH  teacher  just  one  second  to  do  it. 

t  Tbe  children  are  not  taught  figures  the  flret  year. 


READING.— AN  ADVANCED  LESSON  IN  SCRIPT.       1 57 

It  is  an  overgrown  group  in  more  senses  than  one,  for  it 
numbers  fifteen,  and  is  made  up  of  pupils  older  than  is  com- 
mon to  this  grade.  Of  these  a  large  proportion  are  boys. 

Before  the  children  have  fairly  reached  the  board,  the 
teacher  has  nearly  finished  writing  a  sentence,  which  they 
begin  at  once  to  read  silently,  without  waiting  to  arrange 
themselves  in  a  group. 

"What  is  it,  Fred?"  calls  out  the  teacher  to  the  last 
comer,  unmindful  of  the  flying  hands  in  front  of  her. 

Fred,  who  has  not  yet  begun  to  think  of  the  lesson, 
hastens  his  moderate  movements,  finds  a  chance  to  wedge 
his  head  in  between  two  others,  casts  a  quick  glance  along 
the  board,  and  reads,  "  Who  is  going  to  Boston  to-morrow?" 

"I  am!"  "I  am!"  choruses  the  crowd,  thrown  off  their 
guard  by  this  sudden  question. 

"Hush!  hush!"  good-naturedly  commands  the  teacher, 
lifting  a  warning  finger.  "  You  must  not  all  speak  together 
unless  I  ask  you.  Now  I  am  going  to  put  on  the  board  the 
name  of  something  which  went  through  Quincy  very  early 
this  morning  on  the  cars." 

There  is  an  eager  lighting  of  the  faces  at  this,  and  a  whis- 
pered murmur  of  "Jumbo."  The  teacher  puts  her  finger  on 
her  smiling  lips  to  warn  the  speakers,  and  writes  "Jumbo." 

"  Class,  what  is  it?" 

"Jumbo." 

"  What  is  Jumbo,  children?" 

"An  elephant." 

"Yes;  and  this  is  the  way  that  big  word— say  it  for  me 
as  I  write"  (the  class  sound  the  letters  as  she  makes  them)— 
"looks  on  the  board." 

' '  Who  can  tell  me  what  I  write  now?    Jennie." 

"Jumbo  is  a  very  large,  fine  elephant." 

Hardly  pausing  till  the  child  has  read,  the  teacher  begins 
to  write  again,  saying  rapidly,  '  *  Here  is  something  I  want 
to  know?"  and  Patrick,  being  called  upon,  reads: 


158      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"  Are  you  going  to  see  the  elephant  Jumbo?" 

"See"  (instantly),  putting  her  finger  again  on  her  lips, 
and  giving  the  eager  children  no  chance  to  speak,  "if  this 
is  what  you  would  say  to  me?"  writing  rapidly,  "I  think  I 
shall  go  to  see  Jumbo  to-morrow  morning."  "Eddie  may 
read." 

The  teacher,  beginning  to  write  again,  says:  "If  you 
asked  me  that  question,  I  might  say — Maggie,  tell  them 
what." 

Maggie  reads,  "Papa,  mamma,  Jennie,  and  I  are  all  going 
in  to  Boston  to  see  Jumbo." 

Without  an  instant's  pause  the  teacher  begins  to  write, 
saying  as  she  does  so,  "Here  is  something  more  I  might 
tell  you.  Lucy,  read." 

"Uncle  John  gave  me  ten  cents  yesterday,  and  I  am 
going  to  buy  some  peanuts  for  Jumbo." 

They  all  laugh  as  she  writes  this,  for  the  class  are  follow- 
ing along  beside  the  board,  reading  to  themselves  as  fast  as 
she  can  make  the  words. 

"Wouldn't  you  like  to  have  me  ask  you  this  question 
about  him?"  she  goes  on,  allowing  the  children  no  oppor- 
tunity to  talk,  but  holding  them  steadily  to  the  reading. 
"Walter." 

He  reads,  "  Do  you  think  you  would  be  afraid  to  get  on 
Jumbo's  back  and  take  a  ride?" 

"Now,"  writing  and  talking  again,  "  I  will  tell  you  what  I 
think  you  would  say.  Hattie,  talk  it  for  me." 

"  No,  because  Jumbo  is  kind  and  gentle  to  little  children, 
and  likes  to  give  them  a  ride." 

"Let  me  ask  you  another  question,"  and  she  hurries  on, 
writing  with  marvellous  rapidity.  "Charley,  put  it  for 
me." 

"  Do  you  know  where  Jumbo  used  to  live  before  he  camo 
here?" 

"I  do!"  exclaims  a  boy.    But  the  teacher,  significantly 


READING.— AN  ADVANCED  LESSON  IN  SCRIPT.      159 

ignoring  both  his  exclamation  and  his  hand,  calls  upon 
Minnie,  who  says — 

"He  used  to  live  in  London." 

"Well,"  continues  the  teacher,  writing  again,  "here  is 
something  you  didn't  tell  me.  Tommy,  tell  them  what 
it  is." 

"How  could  they  bring  so  large  an  animal  as  Jumbo, 
across  the  water?" 

There  is  great  anxiety  on  the  part  of  all  to  answer. 
"Everybody  that  knows  may  tell." 

"He  came  in  a  steamer,"  is  the  general  exclamation. 

"To  New  York,"  adds  Patrick,  with  an  air  of  great  im- 
portance. 

The  children  have  not  time  to  catch  the  smile  that  flits 
across  the  teacher's  face,  for  she  hastily  turns  to  write  this 
sentence,  "Jumbo  came  across  the  water  in  a  steamer  to 
New  York ;"  and  Mikie  is  called  upon  to  read. 

"I  wonder,"  observes  the  teacher  meditatively,  as  she 
writes,  "how  you  will  feel  for  poor  Jumbo  when  you  see 
this?  Herbert,  tell  us  what  it  is." 

"I  read  that  poor  Jumbo  was  very  sea-sick  when  he  was 
coming  from  his  old  home,"  is  Herbert's  response  to  her  re- 
quest. 

"What  do  you  think  about  that,  children?"  inquires  the 
teacher,  looking  over  her  shoulder  as  she  writes  the  next 
sentence.  One  glance  at  the  serious  countenances,  and  she 
is  glad  to  turn  her  face  to  the  board  to  hide  her  amusement 
at  their  evident  sympathy. 

"I  feel  real  sorry,"  says  Annie. 

"I  do,  too,"  remarks  Tommy,  feelingly. 

"So  do  I,"  puts  in  Patrick,  "for  I  was  awful  sea-sick 
when  I  went  down  to  Nahant." 

"Here  is  another  story,"  announces  the  teacher,  thinking 
perhaps  that  a  change  in  the  subject  might  be  desirable. 
"Hattie,  read  it  to  the  class." 


160      THE   "QUINCY  METHODS"   ILLUSTRATED, 

"  I  wonder  if  Jumbo  liked  to  ride  on  the  cars  any  better 
than  he  did  on  the  steamer?" 

"Can  you  tell  me  this?"  asks  the  teacher,  writing  away 
with  a  perfectly  serious  face,  while  the  little  crowd  that  run 
along  after  her  crayon  strokes  are  giggling  at  every  step. 
"Mikie,  ask  them." 

"  Did  Jumbo  have  his  trunk  put  on  the  baggage-car  when 
he  went  to  Boston?" 

"  And  here  is  another  thing  I'd  like  to  know,"  pursues  the 
writer,  hardly  pausing  to  hear  the  reading,  and  followed  as 
before  by  the  laughter  of  the  children.  "  Frank,  tell  them," 
and  he  reads : 

"  Who  knows  where  Jumbo  keeps  the  key  to  his  trunk?" 

The  hands  are  raised  but  no  speech  is  allowed.  The  inde- 
fatigable teacher  writes  on,  unregardful  both  of  this  and 
their  laughter  at  her  next  sentence,  "Does  the  elephant 
Jumbo  keep  his  clothes  in  his  trunk?" 

"  Charley,  ask  the  question." 

The  excitement  by  this  time  is  intense.  The  teacher  finds 
herself  obliged  to  wave  them  back  in  order  to  get  room  to 
write,  and  now  she  makes  her  appeal  to  the  other  side  of 
these  emotional  creatures. 

"Do  you  imagine,  children,  that  Jumbo  ever  thinks?" 
writing,  "I  wish  I  could  go  home  and  see  the  little  boys 
and  girls  I  left  across  the  water." 

"Frank!"  and  he  reads.  Now,  turning  to  the  group, 
already  quieting  under  the  influence  of  the  feeling  she  last 
aroused,  she  notifies  them, — writing  all  the  time, — "Here  is 
the  last  sentence  I  am  going  to  write  about  Jumbo,  and  let 
me  see  who  will  read  it  first.  Minnie,  I  saw  your  hand 
before  the  others;  tell  us  what  it  is." 

"Jumbo  will  stay  in  Boston  two  weeks,  and  then  he  is 
going  somewhere  else  to  see  other  children." 

"  Yes,  and  /  am  going,  too— this  very  minute — to  see  somo 
other  children.  What  will  you  do?" 


READING.— AN  ADVANCED  LESSON  IN  SCRIPT.      l6l 

"Goto  our  seats." 

"Very  well,  go;  and  don't  forget  to  find  some  work  to  do 
after  you  get  there." 

Notes  and  Comments. 

The  skilful  generalship  here  displayed,  in  the  command  of 
forces  already  in  action,  and  the  masterly  tact  here  shown, 
in  the  management  and  direction  of  power  already  gener- 
ated, are  like  "good  wine  which  needs  no  bush." 

Comment  is  unnecessary. 


CHAPTER  VII. 

READING.— THE  FIRST  LESSON  IN  PRINT. 

WHEN  one  hundred  and  fifty  or  two  hundred  words  have 
been  taught  thoroughly,  when  the  children  can  read  from 
the  blackboard  £ls  rapidly  as  the  teacher  can  write,  when 
they  can  grasp  promptly  and  give  fluently  the  thought 
contained  in  sentences  fifteen  or  sixteen  words  long,  they 
are  ready  to  make  the  change  from  script  to  print. 

The  lesson  which  follows,  will  illustrate  the  manner  of 
making  the  transition. 

PURPOSE  OF  THE  LESSON.—  To  make  the  change  from  script 
to  print. 

PREPARATION  MADE  BY  THE  TEACHER.— The  special  cultiva- 
tion of  faith ;  belief  in  the  uncomprehended  working  of  the 
human  mind ;  and  trust  in  the  unknown  mysterious  mental 
power  of  the  little  child. 

PREPARATION  MADE  BY  THE  PUPILS.— Their  unconscious 
familiarity  with  the  forms  of  the  script  letters ;  and  their 
power  of  detecting  resemblances. 

PLAN  OF  THE  LESSON.— Begin  by  interesting  the  children 
in  the  picture  of  the  man  on  the  first  page  of  the  chart; 
then  write  the  words  "a  man"  on  the  board,  and  ask  them 
to  find  the  same  on  the  chart.  When  all  of  these  have  been 
found,  turn  to  the  next  page  of  the  chart,  write  for  the 
children  what  the  boy  says,  and  ask  the  brightest  child 
present,  to  find  it  on  tho  chart.  Then  ask  each  of  the  class 
to  find  the  sentence  in  a  different  place  on  the  chart.  Call 


READING.— THE  FIRST  LESSON  IN  PRINT.      163 

upon  the  boys  to  read  it.    Have  the  girls  point  out  "  man" 
and  "  I  am." 

N.B.  SPECIAL.—  Be  sure  not  to  let  the  children  think  they 
are  going  to  do  anything  difficult  or  unusual ;  and  try  very 
hard  not  to  think  so  myself. 


THE  LESSON. 

One  sunshiny  morning  in  spring,  the  teacher,  who  has 
been  hanging  her  chart  (which  the  children  have  never  seen 
before)  in  a  convenient  place  for  present  use,  drops  the 
outside  cover  down,  and  calls  out  cheerfully, 

"I'd  like  to  have  the  little  men  and  women  who  belong 
to  my  first  group,  come  down  this  way  and  see  me  for  a 
while." 

The  genial  invitation  attracts,  and  the  implied  compli- 
ment gratifies  them;  so  they  come  smiling  down  the  long 
room,  cluster  around  the  teacher  where  she  stands,  and 
look  up  in  her  face,  waiting  to  know  what  new  and  fresh 
delight  she  has  in  store  for  them. 

"I  am  going  to  show  you  a  picture  to-day,"  she  begins; 
"a  picture  of— "  she  turns  and  writes  on  the  board,  "a 
man." 

"What  is  it,  children?" 

"A  man,"  is  the  concerted  answer. 

"Well,  here  he  is,"  announces  the  teacher,  flinging  back 
the  cover,  leaving  displayed  the  picture,  nearly  a  foot  long, 
of  a  man. 

The  children  all  gather  around  in  front  of  the  chart,  and 
look  at  him. 

''What  is  it  a  picture  of,  children?"  inquires  the  teacher. 

"A  man  I"  is  the  sturdy  chorus. 

"  You  may  find  these  words  on  the  paper." 

They  point  to  the  nearest  "  a  man"  without  the  slightest 
hesitancy. 


1 64     THE  ' '  Q  UINC  Y  ME  THODS  "   ILL  USTRA  TED. 

"Find  them  in  another  place." 

" In  another." 

"In  another  still." 

They  find  them  each  time,  with  quick  and  unerring  cer- 
tainty. 

"  Let  us  see  what  else  we  can  find,"  turning  over  another 
leaf.  This  discloses  the  picture  of  a  little  boy  with  a  man's 
tall  hat  on,  and  a  man's  cane  in  his  hand. 

"  0 !  O-o !  O-o-o !"  laugh  the  children,  and  begin  at  once  to 
comment. 

"  That's  a  boy  with  his  father's  hat  on,"  decides  one. 

"  Yes,  and  he's  got  his  father's  cane,"  adds  another. 

"  Ho !  don't  he  feel  big !"  exclaims  a  third. 

"  I  guess  he  thinks  he's  as  big  as  his  father,"  is  a  diminu- 
tive Yankee's  way  of  putting  his  thought. 

"I  think  so  too,"  agrees  the  teacher,  "and  I'll  tell  you 
what  he  says." 

She  writes  on  the  board,  "  I  am  a  man."  The  children 
laugh  aloud  as  they  read  it. 

"Isn't  that  a  funny  story?"  comments  the  teacher,  in  a 
tone  that  makes  the  children  feel  that  she  thinks  it  really 
is  funny. 

"Willie"  (selecting  the  brightest  child  of  the  group), 
" find  that  story  here "  (pointing to  the  chart),  "and  read  it 
to  us,  so  that  we  shall  truly  think  you  are  a  man." 

Thus  invited,  Willie  is  so  completely  carried  away  by  the 
idea  of  how  he  is  going  to  say  it,  that  he  does  not  notice  that  he 
is  to  read  from  print  instead  of  script,  and  so  does  not  think 
to  balk  at  the  unaccustomed  forms,  but  puts  his  finger  at 
once  upon  the  right  words  and  reads  with  great  dramatic 
power, 

"  I  am  a  man." 

"  See  if  each  one  of  you  can  find  that  same  story  in  a 
different  place  on  the  paper,"  suggests  the  teacher. 

Little  people,  as  well  as  larger  ones,  are  like  sheep— they 


READING.—  TtiE  FIRST  LESSON  IN  PRINT.      165 

follow  their  leaders.  Whatever  Willie  has  done,  they  can 
do;  and  so  in  an  instant  they  are  crowding  around  the 
chart  (which  is  placed  low  enough  for  them  to  reach),  and 
most  of  them  without  the  least  hesitancy  find  the  sen- 
tences. Two  or  three  look  a  little  longer  before  placing 
their  fingers,  but  show  no  doubt  after  they  have  once  de 
cided. 

A  quick  and  comprehensive  glance  having  satisfied  the 
teacher  that  all  have  found  the  words,  she  remarks,  in  a 
brisk,  business-like  way, 

"Now we  must  all  stand  back  a  little,  and  give  Harry 
room  to  read. " 

Harry,  who  was  retreating  slowly  with  the  rest,  being 
called  upon  thus  suddenly,  halts  midway,  and  standing  as 
he  stopped,  mostly  on  one  foot,  with  shoulders  rounded 
and  head  drooped  forward,  reads, 

"I  am  a  man." 

"Are  you?"  asks  the  teacher  doubtfully. 

The  significance  of  her  manner  is  such  that  it  draws  the 
attention  of  the  whole  class,  who  look  from  her  to  Harry, 
wondering  what  she  may  mean.  All  this  time  Harry  is 
becoming  more  and  more  embarrassed,  and  his  position 
more  slouching  and  unbecoming. 

"  Do  you  stand  like  a  man?"  inquires  the  teacher. 

Harry  straightens  as  if  he  had  received  an  electric  shock, 
and  every  member  of  the  class  likewise,  and  by  the  time 
the  teacher  can  add, 

"I  must  try  to  find  some  one  who  looks  like  a  man  to 
read  it,"  the  boys  are  standing  like  grenadiers  on  duty, 
painfully  erect  and  tall. 

"Charley,  read  it  to  us/' 

He  does  so  with  unbending  dignity. 

"  Tommy,  are  you  a  man?"  queries  the  teacher.  Tommy 
glances  across  his  nose,  being  quite  too  rigid  to  turn  his 
head,  and  says, 


1 66      THE  "QUINCY  METHODS"  ILLUSTRATED. 

"Yes'm." 

"  Then  you  shall  tell  us  so;"  which  he  does,  as  if  he  be- 
lieved it. 

4 'Now,"  continues  the  teacher,  "I've  only  one  man  left — 
Walter." 

He  also  stiffly  announces  to  the  class,  "I  am  a  man." 

The  teacher  hesitating  a  moment  before  calling  upon  any 
one  else,  Tommy — apparently  taking  it  for  granted  that  she 
is  at  a  loss  what  next  to  do— assumes  the  air  of  superior 
wisdom  as  well  as  the  dignity  of  manhood,  and  proceeds  to 
edify  her  with  the  remark— delivered  also  with  great  inflexi- 
bility as  to  spine, — 

"  You  will  have  to  take  the  girls  for  men  too." 

The  teacher  finds  it  somewhat  difficult  to  preserve  perfect 
seriousness  of  demeanor  at  this  point,  and  consequently 
smiles  rather  more  than  the  occasion  would  seem  to  demand, 
as  she  observes, 

"  I  think  I'll  not  ask  the  girls  to  read,  but  they  may  put 
their  fingers  on  the  word  '  man.' ' 

The  girls,  glad  to  be  called  upon  at  last  to  do  something, 
step  forward  quickly  to  the  chart,  and  each  finds  the  word 
in  a  different  place. 

"Now  they  may  all  find  4 1  am.'  "  That,  too,  is  promptly 
done.  "That  will  do,"  decides  the  teacher;  "you  may 
go  to  your  seats,  and  draw  a  man.  The  girls  may  draw 
the  small  man  here,  and  the  boys  may  draw  the  large  man 

on  the  other  page.    Pass  1" 

I 

Notes  and ''Comments. 

In  the  case  of  the  first  child  called  upon  to  read  the  printed 
sentence,  his  consciousness  is  so  absorbed  by  the  thought,— 
t.e.,  the  story  the  sentence  tells,— that  there  is  no  room  left 
for  anything  else;  consequently  he  does  not  notice  that 
the  forms  which  he  sees  are  new,  nor  that  there  is  any 


READING.— THE  FIRST  LESSON  IN  PRINT.      167 

difficulty  to  be  encountered  in  reading  them.  But  had  this 
child  faltered  or  stumbled,  it  would  not  have  been  an  easy 
matter  to  have  led  the  rest  to  make  the  change  from  script 
to  print  unconsciously.  Hence  there  would  have  arisen  a 
difficulty,  because  their  consciousness  would  have  made 
one. 


CHAPTER    VIII. 

READING.— PHONICS. 

THE  training  in  phonics  is  helpful  in  several  ways.  First, 
slow  pronunciation  leads  toward  the  conscious  analysis  of 
words  into  their  elementary  sounds.  Second,  drill  upon  the 
sounds  of  the  letters  trains  the  ear  to  distinguish  readily, 
and  the  vocal  organs  to  produce  clearly,  the  elements  of 
spoken  language.*  Third,  the  chart  exercises  train  the 
children  to  distinct  articulation  and  pure  enunciation. 
Fourth,  after  the  association  of  the  sounds  with  the  forms 
of  the  letters  has  been  made,  a  krfowledge  of  phonics  gives 
the  child  a  key  to  new  words,  and  thus  is  gained  a  great 
economy  of  mental  activity. 

Most  of  the  work  done  in  phonics  can  be  accomplished  as 
well,  or  better,  with  the  whole  roomful  as  with  a  single 
group :  hence  it  is  a  great  saving  of  time  and  force  to  make 
the  daily  phonic  drill  general,  and  introduce  it  at  odd 
moments  by  way  of  rest  and  change  for  pupils  and 
teacher. 

The  first  thing  should  be  the  slow  pronunciation  of  mono- 
syllabic words,  familiar  to  the  children,  as  a  preparation  to 
the  conscious  analysis  of  words  into  sounds.  This  should 
not  at  all  resemble  that  harsh,  mechanical,  awkward  pro- 
cess which  is  known  as  spelling  by  sound,  but  should  be  just 
what  its  name  indicates— a  slow  pronunciation  of  certain 
words,  without  the  slightest  change  of  tone  or  manner. 

*  This  training  is  especially  valuable  in  teaching  the  children  of  foreigners. 


RE  A  DING.  —PHONICS.  1 69 

Here  is  an  exercise,  a  minute  long,  which  was  given  dur- 
ing one  of  the  first  weeks  of  the  school  year. 

The  teacher  says,  "Now  I  would  like  to  have  all  the  little 
folks  look  right  in  my  face,  and  see  what  I  am  going  to  say. 
Have  any  of  you  a  d-o-11?"  This  is  said  so  easily  and  natu- 
rally that  the  children  hardly  seem  to  notice  the  prolon- 
gation of  the  word  "doll,"  but  answer  readily,  "Yes'm." 
"  No'm."  " I  have."  "I  have." 

"Point  to  the  c-l-o-ck,"  is  the  next  demand,  which  is  in- 
stantly obeyed. 

"  Put  your  hand  on  your  ch-ai-r."  Every  hand  goes  down 
on  one  side  or  the  other. 

' '  Pinch  your  ch-ee-k-s, "  continues  the  teacher.  This  seems 
to  strike  them  as  being  very  funny,  and  they  pinch  so  hard 
that  the  pink  cheeks  are  pinker  than  ever,  in  consequence. 

* '  Touch  your  ch-i-n.  Open  your  m-ou-th, "  follow  in  quick 
succession,  and  are  promptly  done  by  the  little  ones,  though 
the  last  lets  the  laugh  come  out. 

"Hold  up  your  right  h-a-n-d,"  is  the  next  request.  This 
is  more  difficult,  and  for  the  first  time  they  hesitate ;  many, 
not  noticing  the  whispered  "h,"  cannot  make  out  the  word 
at  all,  so  the  teacher  repeats,  and  now  they  hear  and  obey. 

"Put  out  your  f-oo-t."  Out  they  come,  some  of  them 
bare  and  some  covered,  but  all  full  of  life. 

"  Show  me  your  t-ee-th."  Such  hard  work  as  they  make 
of  this,  and  not  much  of  a  showing  in  some  cases,  either. 

"Where  are  your  n-ai-l-s,"  is  the  next  inquiry,  which 
brings  to  view  a  hundred  and  fifty  hands  not  over-clean, 
with  nails  to  match. 

"Have  you  washed  your  h-a-n-d-s  and  cleaned  your 
n-ai-l-s  this  morning?"  is  the  quick  cross-question,  which — 
serving  equally  well  as  a  review  and  a  reminder— causes  the 
aforesaid  dark-colored  members  to  disappear  with  suspicious 
suddenness. 

"Bend  your  h-ea-d,"  calls  out  the  teacher,  not  waiting  for 


THE   "QUINCY  METHODS1'   ILLUSTRATED. 

their  reluctant  answer  to  her  former  question.  "Lay  it 
on  the  desk  for  a  little  while,  and  see  if  you  can  think  of 
anything  you've  done  to-day  to  help  your  mother  or  any- 
body else."* 

At  another  time,  later  on  in  the  term,  came  this  little 
lesson  upon  the  sounds  themselves,  by  way  of  preparation 
for  the  phonic  chart. 

1  'Let  us  all  fold  our  hands,"  says  the  teacher,  "get  our 
feet  together,  and  sit  up  as  tall  as  we  can ;  then  we  shall  be 
ready  to  say  something.  How  many  ever  saw  any  doves?" 
All  the  hands  are  raised. 

"How  many  ever  heard  the  doves  talking  together?" 
Most  of  the  children  look  as  if  they  never  thought  of  such  a 
thing,  and  only  two  or  three  hands  come  up. 

"  Now  listen,  and  see  if  you  haven't,  for  I  am  going  to  tell 
you  what  they  say.  Sometimes  they  shut  their  mouths  and 
say  b-b-b,"  making  the  sound  of  the  letter  in  such  away 
that  it  resembles  the  cooing  of  doves.  The  little  ones  begin 
to  smile  as  soon  as  they  hear  this,  and  raise  their  hands  to 
show  that  they  recognize  the  sound. 

"Now  play  that  you  are  my  doves,  and  you  say  b-b-b." 
After  they  have  tried  this,  she  continues,  "They  don't  all 
shut  their  lips— the  little  ones,  and  then  they  say  d-d-d; 
now  you  are  little  doves,  and  are  going  to  make  the  sound 
they  do. "  This  is  done. 

"  But  a  few  of  the  doves  don't  know  how,  and  they  leave 
their  mouths  open,  and  this  is  the  way  it  sounds — j-j-j.  You 
may  all  do  that." 

"Then  some  talk  away  down  in  their  throats,  so— g-g-g. 
See  if  you  can  do  that  in  your  throats  too.  Now,  suppose 
that  a  train  of  cars  should  come  close  by  where  the  doves 
were,  what  would  the  doves  do?" 


rnlses  like  this,  are  followed  by  those  In  which  the  children  give  the  slow 
pronunciation  of  certain  words  immediately  after  the  teacher. 


READING.— PHONICS.  1 7 1 

"  Fly  away,"  chorus  the  class. 

"Yes,  they  have  gone.  But  this  engine  is  going  very 
slowly,  and  it  makes  a  noise  like  this :  p-p-p.  You  may  be 
engines,  all  of  you." 

The  roomful  of  puffing  youngsters  quiets  at  a  wave  of  the 
hand,  as  she  asks,  "  What  kind  of  a  sound  does  the  engine 
make  when  its  going  very  fast?" 

"  Choo,  choo,  choo,"  is  the  instantaneous  response. 

4 '  Isn't  this  more  like  it  T  asks  the  teacher.     * '  Ch-ch-ch. " 

"Yes'm." 

"  You  may  be  engines  going  fast,  now." 

"  Ch-ch-ch." 

"  Now  go  very  slowly." 

"P-p-p." 

1  'Now  fast." 

"Ch-ch-ch." 

"Now  slow." 

"P-p-p." 

"Now  we  will  play  that  we  have  got  to  Quincy,  and  we 
all  stop."  The  room  is  still.  "When  you  get  to  the  house, 
you  find  that  mamma  has  just  put  the  baby  to  sleep,  and 
she  hears  somebody  coming,  and  doesn't  know  that  it  is  any 
of  my  kind,  thoughtful  little  boys  or  girls,  who  would  step 
lightly  and  speak  low,  but  she  thinks  it  is  some  naughty, 
careless  child,  that  walks  with  a  great  noise,  and  flings 
down  his  hat,  and  talks  with  harsh  voice,  so  mamma  says 
'sh  sh-sh.'  You  may  all  say  it  to  me.  There,  that  will  do. 
Now  I'll  play  that  the  baby  is  sound  asleep,  and  I  want  you 
all  to  pass  out  for  recess  so  quietly  that  you  won't  waken 
her." 

After  the  children  have  commenced  reading,  and  have  be- 
gun to  associate  the  sounds  with  the  forms  of  the  letters,  it 
will  be  time  to  place  the  Sound  Chart  upon  the  board,  and 
have  a  daily  drill  upon  that. 

There  are  various  ways  in  which  this  may  be  done,  the 


I /2      THE  "QUINCY  METHODS"   ILLUSTRATED. 

following  being  one  which  combines  singing  with  phonics, 
and  thus  ensures  pure  tones  as  well  as  clear  articulation. 

The  teacher,  standing  in  front  of  the  chart*  (which  is 
beautifully  made  in  script  letters  with  colored  crayons),  says, 
" Now  we  are  going  to  have  all  these  queer  little  people," 
pointing  to  the  letters,  "sing;  let  us  make  them  sing  their 
very  best  this  time.  I'd  like  to  begin  with  this  one  (m),  who 
keeps  his  lips  shut  tight,  and  holds  his  head  down,  and 
laughs  with  his  eyes.  You  show  me  how."  The  children 
do  as  she  indicated. 

"  Now  we  will  all  sing  with  him."  They  sing  the  ascend- 
ing and  descending  scale,  using  the  sound  of  the  letter  in 
place  of  the  syllables  do,  re,  etc. 

"Let  us  take  his  sister  to  sing  with  next,"  and  they 
sing  n. 

"Here's  his  uncle,  who  sings  through  his  nose."  (This  is 
ng.)  "Try  him." 

"  This  tall  fellow  (I)  curls  his  tongue  up  in  the  top  of  his 
mouth  when  he  sings;  let  us  hear  his  voice;"  (and  of  r), 
"this  is  his  short  cousin,  who  has  a  short  tongue,  that  he 
curls  all  up  in  the  bottom  of  his  mouth;  sing  him." 

"This  (p)  is  the  one  who  hasn't  any  voice  at  all,  but  he 
tries  hard  all  the  same;  let  us  take  him  up  and  down  too:" 
;m<l  so  on  through  the  chart,  sometimes  singing  up  the  scale 
with  one  sound  and  down  with  another,  and  sometimes 
both  ways  with  the  same  sound. 

Another  device  is  to  give  each  sound  smoothly  three 
times;  another,  to  call  out  each  sound  first  with  an  easy, 
full,  rising  inflection,  and  then  with  the  falling. 

One  teacher  once  drew  a  ladder  and  put  the  letters  repre- 
senting the  sounds  on  the  rounds,  and  repeated  them  in  that 
way. 

Almost  any  device  is  good,  provided  it  does  not  tend  to 

*  The  Sound  Chart  referred  to,  is  that  given  in  Colonel  Parker's  "  Talks  upon 
Teaching,"  p.  64. 


READING.— PHONICS.  1/3 

distort  the  sounds,  or  lead  the  children  to  give  them  in  a 
hard,  unnatural  manner. 

When  the  pupils  have  become  perfectly  familiar  with  the 
consonant  chart,  and  one  or  two  of  the  short  vowels,  so  that 
they  are  able  to  combine  simple  sounds—indicated  by  the 
teacher — into  words,  and  when  they  can  readily  give  the 
slow  pronunciation  of  all  the  words  they  have  learned  to 
read,  lessons  purely  phonic  may  be  introduced. 

These  should  not  be  given  to  the  children  within  three 
months  from  the  time  they  enter  school,  and  should  then  be 
presented  in  the  form  of  general  exercises,  supplementing 
the  usual  work.  Here  is  one  which  came  directly  after  the 
devotional  exercises  and  the  singing  that  followed,  in  the 
morning. 

''Harry,"  calls  out  the  teacher,  as  the  last  notes  of  the 
song  die  away,  "come  out  here  and  tell  us  what  you  can 
do."  The  child — one  of  the  self-possessed  sort—starts  at 
once  for  the  front,  and  arriving  there,  faces  the  school  and 
begins  with — 

"I  can  walk;"  then  follows  of  course,  "I  can  talk,"  and 
he  goes  on,  "  I  can  eat,  I  can  laugh,  I  can  write,  I  can  read." 
This  concludes  his  list  of  in-door  accomplishments,  and  after 
a  little  hesitation  he  gets  out  of  doors  by  declaring,  "I  can 
run." 

"Let  me  see  you  run,"  is  the  sudden  demand  of  the 
teacher.  Nothing  daunted,  he  is  off  down  the  aisle,  greatly 
to  the  amusement  of  the  children.  When  he  has  run  the 
length  of  the  room  the  teacher  says,  "Anybody  else  in 
Harry's  line  who  can  run  may  come  here."  Thus  chal- 
lenged, every  child  makes  a  bee-line  for  the  teacher's  side. 

"  Let  me  see  you  run,"  is  her  next  request,  and  in  a  second 
a  dozen  children  are  scampering  down  the  room  as  fast  as 
their  short  legs  will  carry  them. 

"Now,  children,"  says  the  teacher,  addressing  the  runners, 
"tell  me  what  you  can  do." 


1 74      THE    ' '  Q  UTNC  Y  ME  THODS  "   ILL  US  TRA  TED. 

In  concert  they  answer,  ' '  We  can  run !" 

"Run  to  your  seats  quickly  then,  and  everybody  in  the 
room  be  ready  to  help  the  chalk  talk. "  Picking  up  a  crayon 
she  makes  the  letter  r,  and  the  children  give  the  sound ;  u 
writes  the  teacher,  and  as  they  know  only  the  name,  or  long 
sound  of  this  letter,  (having  learned  that  when  writing  it), 
she  gives  ivithout  comment  the  short  sound  as  she  makes  the 
letter,  and  then  writes  the  n,  and  the  children  give  the 
sound;  but  they  do  not  pronounce  the  word  after  they 
have  given  the  sounds,  because  there  is  no  need — they  have 
pronounced  the  word  (slowly)  already. 

"Nellie,  tell  me  a  story  and  put  that  word  in  it,"  is  the 
next  request. 

"We  can  run,"  answers  Nellie. 

"All  together,  tell  me  the  new  word  slowly;"  they  chorus 
r-u-n.  "Now,  children,  say  the  word  I  write,  all  of  you," 
and  the  teacher  beginning  directly  under  the  other — the  key- 
word— makes  g,  and  the  children  give  the  sound ;  u,  and  after 
an  instant's  hesitation,  and  a  glance  at  the  letter  above  it, 
they  call  out  u\  the  teacher  makes  the  n,  and  that  is 
sounded. 

"  Tommy,  tell  me  a  story  about  that  word." 

"My  father  has  a  gun,"  announces  that  small  boy,  rising 
up  and  sitting  down,  very  much  after  the  fashion  of  a 
"Jack-in-the-box." 

"The  class  may  tell  me  what  this  is,"  pointing  to  the  word 
on  the  board. 

"  Gun,"  is  the  response. 

"Say  it  slowly,"  and  they  do  so.  Here  is  another,"  con- 
tinues the  teacher,  and  sho  goes  on  to  write  beneath  gun  the 
word  bun,  the  whole  class  giving  as  before  the  sound  as  each 
letter  is  formed.  Then  she  calls  for  a  sentence  containing 
the  word ;  after  this  she  writes  fun  in  the  same  column  and 
in  the  same  manner. 

When  the  five  words  have  boon  written,  and  each  em- 


READING.— PHONICS.  1 7  5 

bodied  in  a  sentence  by  the  children,  the  teacher  calls  up 
others  to  name  them  as  she  points,  and  has  the  class  give 
again  the  slow  pronunciation  of  each,  and  then  without 
erasing  *  the  column,  the  regular  work  of  the  day  begins. 

When  it  is  time  for  the  usual  reading  lesson,  these  words 
(excepting  the  first,  which  has  been  already  taught)  are  de- 
veloped objectively,  and  with  three  others  kindred  to  these — 
sunny,  bunny,  and  funny — form  the  new  words  of  the 
lesson. 

The  first  list,  made  during  the  general  exercise,  is  often  re- 
ferred to  by  the  children  when  they  are  trying  to  read  the 
sentences  silently ;  the  position  of  the  words  (directly  under 
the  key- word)  helping  the  little  readers  to  recall  what  they 
are,  by  means  of  analogy. 


*  This  is  left  for  two  reasons:  first,  because  the  impression  of  the  words  already 
made  in  the  minds  of  the  children  may  be  deepened  by  many  wandering  glances 
during  the  day ;  second,  that  it  may  be  used  as  a  reference  column  by  the  children 
during  their  regular  reading  lesson. 


CHAPTER  IX. 

READING.— IMITATION  EXERCISES. 

CHILDREN  are  not  likely  to  read  better  than  they  talk.  If 
in  their  ordinary  conversation  their  voices  are  shrill  or 
harsh,  their  articulation  slovenly,  and  their  tones  monoto- 
nous, the  same  defects  will  mar  their  oral  reading.  It  is  idle 
to  expect  that  the  mere  fact,  that  the  thought  given  is  ob- 
tained from  written  or  printed  words,  instead  of  from  the 
object  or  the  spoken  word,  is  going  to  effect  a  reformation. 

Consequently  the  children  should  first  be  taught  to  talk 
well,  and  then  there  will  be  no  reason  why  they  should  not 
read  well. 

Aside  from  phonic  drill, — which  is  the  best  merely  me- 
chanical means, — imitative  exercises  are  the  most  effective 
aids  toward  reform  in  this  direction.  But  it  goes  without 
saying  that  this  necessitates  the  best  of  examples.  That  is, 
the  teacher  herself  must  be  a  pleasing  conversationalist,  a 
charming  story-teller,  and  the  best  of  readers.  Being  all 
these,  the  following  exercises  are  most  excellent  (in  their 
places)  as  helps  in  the  teaching  of  oral  reading. 

For  example ;  the  children  of  a  certain  room  in  one  of  the 
Primary  Schools  of  Quincy  are  sitting  with  their  hats  on, 
ready  for  recess,  but  the  gong  has  not  yet  struck ;  into  the 
moment  of  waiting  the  teacher  drops  this  tiny  bit  of  a 
lesson. 

"  Children,  play  that  I  am  Mr.  B "  (the  superintendent), 

l<  and  that  I've  just  come  in  to  visit  you.  See !  here  I  come," 
stepping  outside  of  tho  door  and  then  reappearing.  As  she 


READING.— IMITATION  EXERCISES.  177 

steps  over  the  threshold  in  her  new  role  she  calls  out  in  a 
most  cordial  manner,  "  Good-morning,  children. — What  will 
you  say  to  me?"  she  adds  in  her  usual  tone,  as  the  children 
sit  quite  silent,  looking  at  her  in  rather  an  emharrassed 
fashion. 

"  Good-morning,  Mr.  B ,"  call  out  some  of  the  boldest. 

"  Oh,  you  are  not  glad  to  see  me,  are  you?"  is  the  comment 
and  question  which  follows. 

"  Yes'm."    "Yes,  sir,"  is  the  confused  answer. 

"Well,  then,"  insists  the  teacher,  "say  good-morning  to 
me  as  if  you  were.  Now  try  again." 

"Good-morning,  Mr.  B ,"  recite  the  class  in  concert; 

but  it  is  nothing  more  than  a  concert  recitation,  and  that 
does  not  suit  the  teacher,  who  continues : 

"  If  I  were  very  glad  to  see  him  I  should  say  it  in  this  way : 
1  Good-morning,  Mr.  B '"  (giving  it  with  great  hearti- 
ness). "  Now  let  me  hear  you  say  it  again." 

By  this  time  they  have  entered  into  the  spirit  of  the 
thing;  but  their  enthusiasm  exceeds  their  discrimination, 
and  they  deliver  their  greeting  in  a  deafening  chorus,  which 
has  the  force  of  a  projectile. 

"It  would  frighten  Mr.  B I  am  sure  if  you  shouted 

at  him  in  that  way,"  is  her  criticism  upon  this  performance. 
"I  can  say  it  softly,  and  yet  be  glad  too:  listen;"  and  they 
do  listen  and  profit,  for  now  their  "Good-morning"  is  almost 
as  musical  and  cordial  as  her  own. 

"  That  is  very  well,"  assents  the  teacher.  "  I  am  sure  Mr. 
B would  want  to  talk  more  with  you  after  that.  Per- 
haps he  would  say  *  How  do  you  do  to-day?'  What  would 
you  say  to  that?" 

"Pretty  well,"  respond  two  or  three. 

"Anything  else?"  inquires  the  teacher,  but  no  one 
answers.  "  I  should  say,  if  he  asked  me,  '  I  am  pretty  well, 
I  thank  you;  how  do  you  do? ' "  (All  this  with  varied  and 
beautiful  inflections.)  "Would  you  like  to  say  that  too?" 


THE   "QUINCY  METHODS"   ILLUSTRATED. 

"Yes'm." 

"Very  well,  you  may  try." 

Now  their  whole  minds  are  possessed  with  the  idea  of 
imitation,  and  their  very  earnestness  leads  them,  uncon- 
sciously, to  exaggerate.  The  result  is  a  slight  but  most 
amusing  travesty  on  the  teacher's  tone  and  manner.  This 
warns  her  that  she  has  given  quite  enough  for  one  lesson; 
and  she  is  grateful  to  the  gong — which  strikes  just  at  this 
moment — for  effecting  a  diversion,  giving  her  an  opportunity 
to  choke  down  her  laughter  till  a  more  convenient  season. 

Children  being  entirely  unaccustomed  to  express  thoughts 
or  emotions  not  their  own,  must  be  carefully  guarded  in  all 
imitative  training,  lest  it  lead  them  to  become  affected. 

Sometimes,  idioms  new  to  the  children  are  introduced  in 
these  pattern  exercises,  as  well  as  in  the  oral  language  work. 
Occasionally,  a  teacher  will  combine  with  her  imitation  ex- 
ercise, a  drill  in  exact  hearing,  by  reciting  in  her  most 
beautiful  voice  and  manner — and  having  the  children  repeat 
after  her,  line  by  line,— some  little  stanza  or  poem  that  would 
please  them.  Here  is  a  lesson  that  will  illustrate. 

One  dreary,  stormy  day,  a  little  before  the  holidays ;  just 
after  the  children  have  come  back  to  their  seats  from  a 
recitation,  and  have  finished  their  Busy- Work,  the  teacher, 
noticing  that  they  seem  a  little  listless,  inquires  suddenly, 
"  How  many  of  you  have  a  baby  brother  or  sister  at  home?" 
The  great  majority,  judging  by  the  hands. 

"  How  many  of  you  are  going  to  hang  up  your  stockings 
at  Christmas  time?"  Everybody,  and  with  great  energy  too, 
if  t  JUMP  style  of  expressing  themselves  is  any  indication. 

"That's  good,"  comments  the  teacher;  then  without  the 
slightest  change  of  voice  or  manner  she  says,  "Well — 

'  Hang  up  the  baby's  stocking,'  " 

The  noisy  room,  full  of  rustle  and  motion,  is  as  still  as  a 
in  ;i  second,  for  the  words  have  attracted  them,  and 


READING.— IMITATION  EXERCISES.  179 

by  the  time  she  gets  to  the  end  of  the  line  they  have  caught 
the  swing  of  the  rhythm,  and  are  all  smilingly  intent ;  so  she 
goes  on — 

"'Be  sure  you  don't  forget;' 

Willie,  what  did  I  say?" 

"You  told  us  to  be  sure  not  to  forget  to  hang  up  baby's 
stocking." 

"Yes;  who  can  tell  me  the  very  words  I  said?"  Several 
try  and  come  quite  near  to  giving  it  exactly.  Then  she  con- 
tinues— 

"  '  The  dear  little  dimpled  darling,' 

What  is  she,  Nellie?"  The  child  gives  the  line  word  for 
word,  and  almost  the  precise  shades  of  inflection. 

" '  She  never  saw  Christmas  yet.' 

Say  it,  Charley;"  and  he  does.  "Why  hasn't  she  seen 
Christmas,  children?" 

"Cos  she  isn't  old  enough,"  is  the  quick  and  earnest 
answer. 

"  '  But  I've  told  her  all  about  it,' 

Repeat  it,  all  of  you ;"  and  they  do,  imitating  perfectly  the 
teacher's  voice  and  cadences. 

" '  And  she  opened  her  big  blue  eyes;' 

Tell  us  what  I  said,  Susie."  The  little  girl  absolutely  seems 
to  improve  upon  her  pattern. 

" '  And  I'm  sure  she  understood  me,'  " 

Says  the  teacher,  "All  say  so."  The  concert  recitation  is 
excellent. 

" '  She  looked  so  funny  and  wise;'  " 

concludes  the  teacher,  amidst  the  smiles  of  the  children, 
who  are  called  upon  to  say  it  all  together  as  before,  and,  as 
might  be  expected,  give  it  very  expressively. 


180      THE   "  QUINCY  METHODS"   ILLUSTRATED.' 

"  That  will  do.  All  take  slates  and  pencils — turn  toward 
the  board ;"  and  in  ten  seconds  everybody  is  writing,  as  if 
babies  and  Christmas  had  never  been  heard  of. 

Another  form  of  giving  imitation  lessons  is  illustrated  by 
the  following,  also  a  general  exercise.  The  teacher  begins : 

"  Children,  did  you  ever  see  a  garden?" 

"  Yes'm,"  from  the  class. 

"What  was  it  for?" 

"For  things  to  grow  in,"  declares  a  voice. 

"And  what  grew  there?"  pursues  the  teacher. 

"Flowers  and  things,"  is  the  answer  she  gets. 

"What  holds  the  flowers  in  the  ground?" 

"The  roots." 

"  Suppose  they  haven't  any  roots." 

"  Then  they  couldn't  grow." 

"Do  plants  have  anything  besides  flowers?" 

"Yes'm;  seeds." 

"Anything  else?" 

"Fruit." 

"Yes.  Now  I  am  going  to  tell  a  little  story  to  you  that  I 
found,  and  you  may  see  how  you  like  it."  She  recites 
slowly,  and  with  great  expression— 

" '  Kind  hearts  are  the  gardens, 

Kind  thoughts  are  the  roots, 
Kind  words  are  the  blossoms, 
Kind  deeds  are  the  fruits.' " 

Everybody  listens  closely,  quietly,  and  when  she  has 
finished  she  says,  "  I  am  going  to  tell  it  to  you  once  more, 
,'!i<l  if  you  remember  any  of  it  you  may  say  it  with  me." 
So  she  begins,  and  some  one  joins  in  at  "gardens,"  several 
at  "roots,"  more  at  "blossoms,"  and  fully  half  the  class, 
li.-ivinK  Kot  the  run  of  the  thought,  say,  "are  the  fruits." 

The  next  day,  without  any  preface,  the  teacher  recited 
this  stanza  again  twice,  allowing  the  children  to  say  \\  l»,i<, 
they  could  remember,  and  at  tlio  second  repetition  they 


READING— IMITATION  EXERCISES.  l8l 

could  recite  it  from  beginning  to  end.  Whether  they  had 
indeed  learned  it  "by  heart"  or  not,  only  the  future  can 
reveal. 

There  is  still  another  kind  of  imitative  work,  more  ad- 
vanced in  character  than  that  already  described,  which  is 
intended  not  only  to  train  attention  and  form  the  taste,  but 
to  enlarge  the  mental  grasp. 

This  consists  in  telling  stories,  with  not  too  obvious  morals 
(children  dislike  to  have  morals  thrust  upon  them),  or  in 
reading  or  reciting  either  prose  or  poetry,  suited  to  the 
capacity  of  children,  but  selected  always  with  a  special  view 
to  variety  and  vivacity  of  style. 

These  can  be  used  with  good  disciplinary  effect  as  re- 
wards, when  the  children  have  been  trying  unusually  hard 
to  do  well,  or  when  their  conduct  has  been  particularly  com- 
mendable. 

For  instance,  in  a  Primary  School,  where,  the  day  before, 
the  class  having  written  so  carefully  that  nearly  aU  had 
"daisy  slates,"  the  teacher  told  them  a  story ,  because,  as  she 
said,  they  had  worked  so  hard  that  she  wanted  to  rest  them 
a  little. 

This  day  the  teacher  says  to  the  class,  "Did  you  like  the 
story  I  told  you  yesterday?" 

' '  Yes'm. "     ' '  Yes'm, "  is  the  quick  response. 

"What  was  it  about,  Walter?" 

"About  a  naughty  boy  who  stole  a  bird's  nest." 

' '  Anything  more  ?    Mary . " 

"And  the  poor  little  mother-bird  who  cried  and  cried." 

"What  kind  of  a  boy  was  this,  children?" 

1 '  Bad. "    ' '  Naughty. "    "A  thief. " 

"Yes,  I  think  so;  and  how  did  you  feel  about  the  birds?" 

* ' Bad. "  " Sorry. "  "I  pitied  her. "  "I  was  mad  at  the 
boy."  "So  was  I." 

"Well,  to-day  all  my  little  boys  and  girls  have  taken 
such  good  care  of  themselves  that  I  haven't  had  to  stop  to 


1 8  2       THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

look  after  them  at  all,  but  have  been  able  to  go  steadily 
on  with  my  work,  so  now,  I  have  a  little  time  which  I 
might  give  to  a  story  if  you  care  to  hear  one." 

"Yes'm."    "Yes'm."    "Do." 

"Well,  but  I  want  to  know  if  the  clock  is  going,  first— let 
me  see  if  I  can  hear  it  tick?"  Every  one  settles  down  still 
for  a  moment.  "There,  I  did.  Can  I  hear  it  again,  I 
wonder?  Yes,  I  do,  and  now  I  will  tell  you  about 

'PUSSY'S  SCHOOL.' 

*  Now,  children,'  said  puss,  as  she  shook  her  head, 
4  It  is  time  your  morning  lesson  was  said.' 
So  her  kittens  drew  near  with  footsteps  slow, 
And  sat  down  before  her,  all  in  a  row. 

'  Attention,  class,'  said  the  cat-mamma, 
4  And  tell  me  quick  where  your  noses  are.' 
At  this  all  the  kittens  sniffed  the  air, 
As  though  it  was  filled  with  a  perfume  rare. 

4  Now,  what  do  you  say  when  you  want  a  drink? ' 
The  kittens  waited  a  moment  to  think, 
And  then  the  answer  came  clear  and  loud— 
You  ought  to  have  heard  how  those  kittens  meow'd. 

4  Very  well.    'Tis  the  same,  with  a  sharper  tone. 
When  you  want  a  fish  or  a  bit  of  a  bone. 
Now,  what  do  you  say  when  children  are  good? ' 
Then  the  kittens  purred  as  soft  as  they  could. 

4  And  what  do  you  do  when  children  are  bad'/ 
When  they  tease  and  pull.'    Each  kitty  looked  sad. 
4 Pooh! '  said  the  mother,  '  that  isn't  enough; 
You  must  use  your  claws  when  children  are  rough.' 

4  And  where  are  your  claws?    No,  no,  my  dear 

(As  she  took  up  a  paw).    See !  they  are  hidden  here.' 

Then  all  the  kittens  crowded  about 

To  see  their  sharp  little  claws  brought  out. 

4  Now  go  and  play,'  said  the  fond  mamma; 
4  What  sweet  little  darlings  kittens  are. 
Ah,  well!    I  was  once  the  same,  I  suppose,' 
And  she  looked  very  wise  and  rubbed  her  nose.' 

Who  can  tell  me  what  I  told  you?    Maggie." 


READING.— IMITATION  EXERCISES.  183 

"It  was  about  Pussy's  school:  how  the  mother-cat  called 
her  little  kittens  together  and  had  them  tell  her  what  they 
were  to  do  when  they  wanted  milk,  and  they  meow'd,  and 
they  purred  when  the  children  were  good  to  them,  and  then 
she  showed  them  their  claws,  and  then  told  them  to  go  and 
play." 

As  Maggie  proceeds  with  her  account  more  and  more 
hands  are  raised,  and  now  nearly  every  one  has  something 
to  say. 

"Fred." 

4 'She  asked— " 

"  Who  is  '  she '?"  is  the  teacher's  quick  criticism. 

"The  mamma-cat  asked  her  kittens  first,  where  their 
noses  were,  and  they  all  put  them  up  and  sniffed." 

"Yes.    Lucy." 

"The  kittens  all  sat  down  in  a  row  to  say  their  lessons." 

"Edith." 

"The  mother-cat  told  them  to  scratch  little  children  when 
they  teased  them." 

"Tommy." 

"The  little  kittens  didn't  know  where  their  claws  were 
till  their  mamma  showed  them ;  but  I  don't  think  that's  true, 
because  my  little  kitten  when  it  wasn't  old  at  all,  would 
scratch. " 

"Perhaps  this  was  a  different  kind,"  suggests  the  teacher. 
"Now  we  will  see  who  will  march  the  best."  She  strikes 
the  bell  and  they  rise;  another  stroke,  they  step  into  the 
aisle ;  a  third,  and  they  face  front. 

The  teacher,  passing  across  the  room  to  look  at  the  rows, 
comments  thus :  "  These  children  all  stand  up  well.  This  is 

a  fine  line.  Jennie  B is  going  to  make  a  nice-looking 

woman.  Patrick  Me stands  like  a  soldier.  I  can  see 

one  boy  who  doesn't  Aok  very  tall.  I  begin  to  think  the 
girls  make  better  solcKrs  than  the  boys." 

This  last,  brings  every  boy  into  the  straightest  of  positions, 


1 84      THE    ' '  Q  UINC  Y  ME  THOD S"   ILL  US  TRA  TED. 

then  she  picks  up  her  triangle,  and  stepping  to  its  taps, 
they  march  off  around  the  room,  up  the  middle  aisle,  every 
other  one  to  the  right,  every  other  one  to  the  left,  then 
around  to  their  seats,  all  in  good  soldierly  style.  At  a 
tinkle  of  the  bell  they  sit,  and  the  Busy-Work  and'  recita- 
tions begin  again. 


« 


SECTION  FOURTH. 


CHAPTER 

I.  Preliminary. 
II.  Language.— Guessing  and  Thinking  Games 

III.  Language. — Conversation  Lessons. 

IV.  Language. — An  Action  Lesson. 

V.  Language. — Lessons  upon  a  Picture. 
VI.  Language. — Story  Lessons. 


The  lessons  in  thought  and  its  expression,  com- 
prised in  Section  Second,  gave  the  pupils  exercise  in 
Language  the  lessons  here  transcribed  illustrate 
the  training  in  Language  perse. 


OHAPTEE  I. 

PRELIMINARY. 

As  the  evolution  of  thought  is  the  aim  of  all  teaching, 
and  as  language  is  perhaps  as  necessary  to  thought  as  to 
its  expression,  it  follows  that  the  children  must  be  taught 
language— as  they  should  be  trained  in  morals— first,  last, 
and  all  of  the  time  during  their  school  course. 

To  the  beginning  of  this  most  important  study  is  given 
the  greater  part  of  the  teacher's  time  and  attention  in 
the  primary  grade.  Hence  the  propriety  of  devoting  two 
Sections  entirely  to  the  illustration  of  the  first  year's  Lan- 
guage Work. 

The  exercises  here  presented,  though  given  primarily  for 
the  sake  of  training  the  pupils  in  expression,  do  not  by  any 
means  embody  the  old-fashioned  idea  of  language  lessons. 

Those  trained  the  imitative  powers  only,  these  arouse  the 
creative  also.  As  ideas  precede  words,  so  thought  should 
go  before  and  be  the  cause  of  expression.  Hence  to  ignore 
the  thought  side  of  Language  Work  is  to  leave  out  the 
motive  and  the  stimulus.  Such  teaching  means  years  of 
mechanical  drill  on  the  part  of  teachers,  and  years  of  dull 
memorizing  on  the  part  of  pupils:  drudgery  dreaded  by 
the  first,  and  hated  by  the  last. 

In  the  Quincy  schools,  on  the  contrary,  every  lesson  given 
in  Language,  from  the  lowest  primary  to  the  highest  gram- 
mar grade,  seems  to  be  a  positive  pleasure  to  the  pupils.  As 
to  results,  they  are  certainly  quite  remarkable,  the  children 
showing  unusual  command  of  the  English  language,  speak- 


188      THE   "QUINCY  METHODS"  ILLUSTRATED. 

ing  it  with  directness  and  fluency,  and  writing  it  with  readi- 
ness and  propriety. 

The  persistent  and  skilful  training,  of  which  this  is  the 
outcome,  begins  the  first  day  the  pupils  come  to  school,  and 
the  foundation  of  all  after-work  is  laid  by  the  oral  exercises 
given  during  the  first  year. 

Most  teachers  find  it  difficult  to  lead  little  children  to  put 
their  ideas  into  words  in  the  schoolroom.  This  is  owing 
not  so  much  to  the  limited  vocabularies  of  the  young  talkers, 
and  their  lack  of  idioms,  as  it  is  to  the  fact  that  their  self- 
consciousness  embarrasses  them  and  prevents  expression. 
Give  them  the  stimulus  of  an  idea  which  they  desire  to  com- 
municate, and  all  embarrassment  vanishes:  they  talk  as 
spontaneously  as  if  on  the  playground,  or  at  home. 

To  arouse  thought,  then,  is  the  first  work ;  to  give  it  a 
proper  medium  of  expression,  comes  afterward.  In  this 
sense,  all  of  the  work  done  preparatory  to  Reading,  was 
Language  Work,  in  that  it  led  the  pupils  to  think,  and  then 
to  tell  freely  what  they  thought,  but  it  was  not  training  in 
Language  per  se.  Hence  incorrect  forms  were  often  passed 
by  apparently  unnoticed,  lest  their  correction  by  the  teacher 
should  check  the  current  of  the  children's  thought  or  daunt 
their  courage  in  its  expression. 

But  this  is  no  longer  the  case.  Now  every  error  must  be 
corrected,  every  wrong  form  kept  from  sight  and  hearing, 
as  far  as  possible,  and  right  forms  continually  presented, 
in  ways  as  varied  as  the  ingenuity  of  the  teacher  can  devise. 
Now  the  pupils  are  ready  to  be  trained  in  the  use  of  new- 
words,  introduced  to  new  idioms,  and  led  to  make  new  com- 
binations of  sentences ;  while  on  the  other  hand,  through  all 
and  above  all,  thought  must  bo  developed.  The  creative 
must  still  lead  the  imitative,  and  thought  precede  expres- 
sion. All  this,  if  properly  done,  will  prepare  for  the  next 
step  in  Language,  "Talking  with  the  Pencil." 

In  the  presentation  of  the  subject  here  made,  the  exer- 


PRELIM  IN  A  RY.  189 

cises  have  been  arranged  with  regard  to  the  development  of 
original  expression  (oral  composition).  For  instance,  in  the 
"Guessing  and  Thinking  Games"  mental  action  is  aroused, 
the  desire  for  expression  stimulated,  and  the  children  tell 
their  thoughts  in  single  words  or  phrases. 

Next  come  the  "  Conversation  Lessons,"  where,  beginning 
with  phrases  or  sentences,  they  gradually  learn  to  express 
themselves  with  combinations  of  both. 

In  all  of  the  work  thus  far,  the  children  use  language  un- 
consciously :  it  is  to  them  only  a  medium  by  means  of  which 
they  express  their  ideas. 

In  the  "Action  and  Picture  Lessons"  which  follow,  they 
consciously  seek  for  words  and  phrases  with  which  to  clothe 
their  thoughts,  while  the  "Story"  combines  both  phases  of 
the  work. 

This  classification  is  made  for  the  sake  of  calling  the  at- 
tention of  inexperienced  teachers  to  the  two  sides  of  the 
work,  the  unconscious  and  the  conscious,  and  not  because 
the  lessons  were  given  in  that  order. 

The  different  kinds  of  language  exercises  here  described 
are  only  supplementary  to  the  Language  Work,  whose  com- 
mencement was  illustrated  by  the  lessons  given  in  Section 
Second,  and  which  will  be  steadily  continued  throughout 
the  eight  years'  course. 


CHAPTER  II. 

LANGUAGE.— GUESSING  AND  THINKING  GAMES. 

THESE  are  the  first  and  simplest  forms  of  thought  ex- 
ercises. They  are  used  to  lead  the  children  to  think,  and  to 
think  quickly ;  the  knowledge  gained  being  quite  an  ulte- 
rior object.  Of  these,  the  most  elementary  is  the  "  Guess- 
ing Game."  It  is  a  General  Exercise,  and  is  played  thus: 

The  teacher,  taking  her  stand  in  front  of  the  class,  says 
suddenly, 

"  See  if  you  can  find  out  what  I  am.    Are  you  ready?" 

"  Yes'm,"  in  a  chorus. 

"I  am  a  tiny  bit  of  a  thing," — "  A  sparrow  1"  calls  out  one 
of  the  children,  but  the  teacher  goes  on  unheeding — "and 
when  you  walk  you  tread  on  me  and  my  brothers  and 
sisters." 

"Stones!"  "Grass!"  "Daisies!"  "Little  baby  stones!" 
"Stones!"  are  the  guesses  that  shower  upon  her  from  all 
parts  of  the  room ;  but  still  she  continues : 

"Your  houses  couldn't  be  built  if  I  were  not  to  be  had, 
and  the  trees  wouldn't  stand  up  without  me— 

"Dirt!"    "Sand!"    "Roots!"     "Sand!"    "Sand!" 

"  Yes,  I  am  a  grain  of  sand." 

"  Now  I  am  something  just  as  soft  as  soft  can  be.  I  have 
no  mouth,  and  lots  of  relations—" 

"Ants,  "says  a  little  girl,  who  has  confused  sound  with 
sense. 

"  You  like  me  when  you  go  to  bed,"  pursues  the  teacher, 

"  Wool !"  "  Moon !"  "  Stars !"  "  Stare !"  guess  the  little 
ones.  Still  the  narrator  keeps  on : 


LANGUAGE.— GUESSING  AND    THINKING  GAMES.    IQI 
"And  I  help  to  make  the   coat   of  something  that  lays 


"A  hen!"  "A  bird!"  cry  the  little  people,  as  easily 
thrown  off  the  track  as  their  older  prototypes. 

"I  am  a  part  of  the  coat  the  hen  wears." 

"A  feather!"  "A  feather!"  UA  feather!"  shout  the 
class. 

"  A  feather  is  right,"  declares  the  teacher. 

"Oh,  but  you  can't  think  what  I  am  now,"  she  again 
begins:  "  away  off  in  the  field  they  buried  me." 

"  Corn,"  declares  one  quick-witted  child. 

"And  I  was  covered  over,  and  it  rained,  and  the  sun 
came  out,  and  little  things  grew  out  from  me  that  held  me 
down;  but  by  and  by  I  pushed  my  head  up  out  of  the 
ground." 

* '  Grass !"  ' '  Wheat !"  "A  tree  I"  exclaim  the  children, 
but  she  doesn't  answer  them,  and  goes  on  with  her  descrip- 
tion. 

"And  I  grew  and  grew  till  I  was  tall;  then  some  one 
came  and  cut  me  down." 

'  *  Grass !"    "  Hay !"    ' '  Oats !"  guess  the  listeners. 

"And  then  they  boiled  me,"  continues  the  narrator, 
"and  you  eat  me  and  say  that  I  am  sweet.  What  am  I?" 

"Sugar!"     "Sugar!" 

'•  Yes,  I  am  sugar-cane." 

"I  am  a  very  queer  creature  now;  some  like  me,  and 
some  don't  like  me.  Boys  often  treat  me  badly." 

'  *  A  bird !"     "A  chicken !"  guess  the  youngsters. 

"I  can't  be  a  bird,"  answers  the  teacher;  "because  I 
have  no  wings ;  besides,  I  haven't  a  sign  of  a  feather.  But 
I  have  a  beautiful  coat,  only  it's  very  hard  and  has  red 
trimmings." 

"A  turtle!"     "A  turtle!" 

"You  are  right,  I  am  a  turtle." 

"Now  I  am  going  to  puzzle  you.     I  am  something  that 


I Q2       THE    "QUINCY  METHODS"   ILLUSTRATED. 

nobody  in  the  world  loves,  and  still  I  love  everybody,  and 
I  kiss  people  every  time  I  get  a  chance,  and  yet  they  slap 
me  if  they  can.  I  don't  wear  either  shoes  or  stockings, 
and  I  have  six  legs." 

"A  spider!"  "A  spider !"  exclaim  the  children,  but  the 
speaker  keeps  steadily  on. 

44  Then  I  am  a  singer;  how  I  can  sing!" 

4  *  A  mosquito !"  "  A  mosquito !"  "  A  mosquito !"  cry  the 
class. 

"  I  think  I  am  a  mosquito." 

"  Do  you  suppose  you  can  guess  me  this  time?" 

uYes'm." 

"Well,  try.  In  the  first  place,  I  am  pretty  large,  but  I 
never  went  to  school,  and  I  cannot  read  nor  write;  yet  I 
know  a  great  deal,  for  all  that.  I  am  fond  of  children,  and 
sometimes  I  take  care  of  them.  Often  I  let  them  ride  on 
my  back—" 

" A  horse!"  "A  dog!"  " A  pony!"  " A  donkey!"  are 
the  guesses  from  the  wondering  listeners,  who  are  decidedly 
puzzled  when  the  narrator  goes  on  without  heeding  them 
in  the  slightest : 

"I  like  people  who  are  kind  to  me,  but  sometimes  when 
people  are  unkind  I  step  on  them,  and  as  my  feet  arc  quite 
large,  it  is  apt  to  hurt  them." 

"  A  mule!"  speaks  out  one  of  the  older  pupils  suddenly. 

"I  dress  very  plainly,  for  I  generally  wear  a  brown  or 
gray  coat  and  no  vest.  I  drink  a  great  deal  of  water  and 
am  fond  of  pea-nuts." 

"A  monkey  1"  declares  a  child,  who  thinks  of  only  one 
tiling  at  a  time. 

44  You  all  know  my  name." 

"Some  boy,"  calls  out  another  guesser. 

"I  have  travelled  a  great  deal,"  continues  the  teacher, 
smiling  at  her  excited  pupils,  who  sit  staring  straight  in 
her  face  with  their  small  foreheads  wrinkled,  and  their 


LANGUAGE.— GUESSING  AND    THINKING  GAMES.    193 

mouths  pursed  up,  trying  hard  to  think  what  this  mysteri- 
ous creature  can  be.  "I  always  carry  my  trunk  with  me." 

4 'An  elephant!"  fairly  shouts  a  delighted  youngster. 

"  Jumbo!"  explodes  another. 

"An  elephant!"  "Jumbo!"  chorus  the  class,  while  the 
teacher  stands  and  laughs  to  see  how  excited  they  are  over 
their  last  guess. 

The  easiest  of  the  ''Thinking  Games"  is  called  "The 
Birds,"  and  is  carried  on  in  this  way: 

The  teacher  says  to  the  children,  "  Tell  me  all  the  names 
of  different  kinds  of  birds  that  you  can  think  of." 

Immediately  the  hands  go  up,  and  every  child  is  eager  to 
tell  what  bird  he  has  in  mind. 

Being  called  upon  by  the  teacher,  a  little  girl  rises,  stands 
beside  her  seat,  and  says,  "A  bluebird."  The  next  child 
has  thought  of  a  snowbird ;  then  are  named  the  blackbird, 
the  yellow-bird,  the  robin,  the  woodpecker,  the  pigeon,  the 
canary,  the  crow,  the  parrot,  the  owl,  the  bobolink. 

Eight  in  the  midst  of  this  rapid  naming  of  birds  a  small 
boy  calls  out  "  The  pig!"  Of  course  the  whole  school  shouts, 
while  the  child  whose  remark  has  caused  the  laughter 
shrinks  into  his  seat,  seemingly  covered  with  mortification. 

Perhaps  he  had  heard  at  home  the  Irish  joke,  "  The  pig 
is  a  mighty  quare  bird,"  and  had  taken  it  in  earnest.  But 
by  whatever  chance  the  little  naturalist  came  to  class  this 
quadruped  as  a  fowl  of  the  air,  it  is  so  evident  that  the  boy 
has  not  intended  to  give  either  a  wrong  or  a  foolish  answer 
that  the  teacher  continues  the  game  without  comment. 

Then  follow  in  the  way  of  answers  the  sparrow,  the  hum- 
ming-bird, the  thrush,  the  swallow,  the  quail,  the  hen-hawk, 
the  ground-bird,  the  cat-bird,  and  the  hands  are  all  down. 

"Has  any  one  anything  to  tell  me  about  birds?"  is  now  the 
teacher  s  question.  Several  hands  are  put  up.  "Jimmie." 

"Hornets  are  awful  bad." 


1 94      THE   ' '  Q UINC Y  ME  THODS"   ILL  USTRA  TED. 

It  does  not  occur  to  any  one  but  the  teacher  that  this  is 
funny,  and  the  remark  is  received  in  sympathetic  silence  by 
the  class,  to  break  which,  the  teacher  puts  hastily  her  next 
question,  "What  do  birds  do?" 

"  They  make  a  nest,"  comes  the  quick  answer  from  some 
one  of  the  older  children. 

"Each  of  you  make  a  nest  with  your  hands,  and  we 
will  sing,  'What  does  little  birdie  say?' "  and  the  game  is 
ended. 

Another  variety  of  these  games  requires  the  children  to 
answer  with  a  sentence  instead  of  a  word,  and  may  be 
given  in  many  ways.  Here  is  one : 

"All  the  smart  folks,"  says  the  teacher,  "may  think  of 
something  that  can  swim." 

The  room  is  quite  full  of  smart  people— apparently,  and 
every  one  is  anxious  to  give  the  general  public  the  benefit 
of  his  smartness. 

The  first  thinker  asserts, "  A  fish  can  swim." 

Then  the  teacher  is  told  that  "A  whale  can  swim;"  "A 
mackerel  can  swim;"  "A  herring  can  swim ;"  "A  halibut 
can  swim;"  "A  smelt  can  swim;"  "  A  minnow  can  swim;" 
"A  haddock  can  swim ;"  "  A  cod  can  swim ;"  "A  lobster  can 
swim;"  "  A  crab  can  swim;"  "A  duck  can  swim ;"  followed 
very  naturally  by  "A  geese  can  swim." 

"What  should  he  have  said,  children?"  appeals  the 
teacher. 

"A  goose  can  swim!"  chorus  the  class. 

"  A  horn-pout  can  swim,"  continues  the  next. 

"A  chub  can  swim." 

"  A  shark  can  swim." 

"An  eel  can  swim." 

"  A  frog  can  swim." 

"A  man  can  swim,"  calls  out  a  chubby  youngster,  his 
face  beaming  with  his  bright  idea;  but  the  climax  is  capped 


LANGUAGE.— GUESSING  AND    THINKING   GAMES.    195 

by  a  taller  boy  who  jerks  himself  into  an  upright  position 
to  declare—  "  I  can  swim." 

"  Come  out  here,  and  show  us  how  you  make  your  arms 
go,"  is  the  teacher's  sudden  command.  Nothing  abashed, 
the  boy  takes  his  place  in  front,  and  goes  through  the 
motion. 

"  All  the  rest  of  you  do  as  he  does,"  calls  out  the  teacher. 
Just  at  the  height  of  the  fun  the  bell  strikes,  the  play  is 
over,  and  work  sets  in. 

Still  another  form  of  General  Exercise  in  Language,  call- 
ing for  at  least  one  original  sentence  from  the  pupils,  is 
illustrated  by  the  following : 

One  summer  noon,  while  the  little  ones  are  sitting  with 
their  hats  on,  waiting  for  the  gong  to  strike,  the  teacher 
queries : 

"Children,  suppose  that  now  you  had  all  the  money 
you  wanted;  how  would  you  spend  it?  Who  is  ready  to 
tell  me?" 

They  open  their  eyes  a  little  wider,  for  a  second  or  two, 
at  this  sudden  attack  from  an  unexpected  quarter;  but, 
paradoxical  as  it  may  seem,  new  things  are  no  novelty  to 
them,  so  they  soon  settle  into  their  usual  condition  of  alert 
self-possession,  and  briskly  fling  up  their  hands,  to  show 
that  they  are  ready  to  dispose  of  their  imaginary  fortune. 
Then  the  teacher  calls—"  Mary." 

"  I'd  buy  a  doll-carriage,"  asserts  that  young  woman. 

"Eddie." 

"I'd  buy  some  oranges." 

"Charley." 

"I'd  buy  two  ponies  and  a  nice  carriage  like  Mr.  D.'s," 
announces  that  young  worshipper  of  pomps  and  vanities. 

"Patrick." 

"  I'd  buy  some  pea-nuts." 

"Maggie." 

"  I'd  buy  a  doll  with  some  nice  dresses." 


196      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"Nellie." 

"I'd  buy  my  baby  a  rubber  ball,"  decides  the  loving 
little  sister. 

"Jimnrie." 

"I'd  buy  a  jack-knife." 

4 'Harry." 

"I'd  buy  a  great  big  flag  like  that  down  on  the  engine- 
house,"  aspires  that  small  lover  of  his  country's  standard, 
without  a  thought  of  what  he  could  do  with  the  twenty  feet 
of  bunting  after  he  had  it. 

"Carrie."  How  she  would  spend  her  pocketful  of  gold 
is  not  known,  for  just  here  the  gong  sounds,  the  play  stops, 
and  the  marching  begins. 


CHAPTER  III. 

LANGUAGE.— CONVERSATION  LESSONS. 

THESE  are  excellent  devices  to  lead  the  pupils  to  talk 
freely,  leaving  them  at  liberty  (within  certain  limits)  to 
choose  their  own  subject-matter.  Thus  is  gained  the  most 
advanced  of  unconscious  Language  Work. 

The  teacher  selects  the  general  topic,  arid  calls  upon  the 
children  to  say  whatever  they  please  concerning  it.  If  any 
are  too  reserved,  too  shy,  or  too  unaccustomed  to  put  their 
thought  into  words,  she  helps  them  with,  now  and  then,  a 
skilfully  put  question. 

For  instance :  the  children  have  just  come  in  from  a  long 
and  merry  recess.  After  a  song  or  two  to  quiet  them  a 
little,  the  teacher  says, 

"I  wish  that  somebody  would  tell  me,  in  a  very  pretty 
way,  what  he  did  at  recess/'  All  are  eager  to  be  called 
upon.  "  Harry,  what  did  you  do?" 

"I  played  tag." 

"  How  do  you  play  that?" 

"You  run,  "answers  the  boy,  "and  the  catcher  tries  to 
catch  you." 

"Which  do  you  like  best  to  be— the  catcher,  or  the  one 
who  runs?" 

"Oh,  I  like  to  be  the  catcher,  and  then  I  make  them  all 
run  like  everything. " 

"  Then  when  I  play,"  observes  the  teacher,  "  I  shall  want 


198      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

to  be  the  catcher  too.  Who  played  something  else?  Pat- 
rick." 

"  I  played  drunken  man." 

U0h,  what  a  dreadful  play!  I  never  should  want  to 
play  that.  Lizzie,  what  did  you  play?" 

UI  played  tag." 

"  Charley." 

"I  played  tag,  too." 

"How  many  played  'tag'?"  inquires  the  teacher,  intent 
upon  finding  something  new  to  talk  about.  Two  thirds  of 
the  class  raise  their  hands.  "What  did  all  the  rest  do?"  is 
her  next  demand.  "Mary,  what  did  you  play?" 

"I  played  colors." 

"  I  don't  know  that  game ;  tell  me  what  you  did?"  In  the 
fervor  of  their  desire  to  explain,  several  begin  to  speak  at 
once,  but  the  teacher  silences  them  with — "Hush!  Mary  is 
going  to  teach  me  how  to  play." 

The  little  girl  rises,  stands  beside  her  desk  and  says,  "I 
took  a  color,  and  whoever  guessed  that  color,  she  chased 
me." 

"And  whoever  guessed  that  color  chased  you,"  gently 
corrects  the  teacher.  "What  if  she  caught  you?" 

"  Then  I  would  be  in  the  ring,  and  she  would  be  captain." 

"That's  a  nice  game;  I  think  I  shall  have  to  come  out 
some  recess  and  play  it  with  you.  Tommy,  what  did  you 
do?" 

"  Eddie  and  I  played  horse." 

"  Did  you?    Which  was  the  horse?" 

"I  was." 

"Did  you  kick?" 

"Some,  but  I  didn't  hurt  anybody." 

"  I  am  glad  of  that.    Tell  me  what  you  played,  Belle?" 

"  We  played  school  on  the  steps." 

' *  Wasn't  that  nice !    Who  was  the  teacher?" 

"Katy." 


LANGUAGE.— CONVERSATION  LESSONS.          199 

"  Was  she  a  good  one?" 

"Yes'm." 

"What  did  you  do  in  your  school?" 

"  Oh,  we  had  singing  and  writing." 

"  Anything  else,  Fannie?" 
*    ' '  Marching  and  number. " 

"What more,  Carrie?" 

"  She  told  us  a  story  about  a  fox." 

"Was  that  all,  Ellen?" 

"No'm;  she  played  she  was  a  kitty,  and  she  said  she 
liked  milk,  and  had  a  fur  coat  and  could  sing;  and  we 
guessed  it." 

"What  a  happy  time  you  had!  I'd  like  to  know  what 
Bobbie  did  at  recess,  and  then  we  shall  have  to  stop  talk- 
ing, and  go  to  work.  Now,  my  boy." 

Robbie,  enthusiastically — "Me  and  seven  other  boys 
played  that  we  were  a  hook-and-ladder  company."  t 

"That  was  good;  but  I  don't  believe  you  meant  to  speak 
of  yourself  first." 

"No'rn,  but  I  was  the  captain,"  with  a  half -argumenta- 
tive inflection. 

" They  would  want  a  polite  captain,  I  know;  go  on  and 
tell  us  all  about  it." 

"Well,  we  played  that  there  was  a  big  fire,  and  then  the 
bell  struck,  and  we  ran  just  as  hard  as  ever  we  could,  and 
got  there  before  any  other  company  did. " 

"  Then  we  shall  have  to  call  you,  'Hook  and  Ladder  Com- 
pany No.  One,' "  suggests  the  teacher,  greatly  to  the  delight 
of  "me  and  seven  other  boys."  "That  will  do.  Now  I 
am  going  to  see  which  row  I  love  the  most."  Every  child 
assumes  his  very  best  position  instantly.  ' '  Well !  well !"  ex- 
claims the  teacher,  "they  are  all  so  lovely  that  I  can't 
make  up  my  mind.  I  shall  have  to  think  about  it ;  let  me 
wait  until  after  the  writing,  and  then  see.  Slates  and  pen- 
cils !  Face  the  board !" 


200     THE  "QUINCY  METHODS"   ILLUSTRATED. 

Here  is  another  conversation  carried  on  between  teacher 
and  pupils  in  another  school. 

The  teacher  begins  the  talk  by  asking,  "  How  many  of 
you  ever  went  to  Boston?"  Nearly  all  have  had  that  ex- 
perience. ''I'd  like  to  have  you  tell  me  what  you  saw 
there,  Stevie?" 

"I  saw  the  horse-cars." 

"  Anything  else?" 

"  Some  people  riding  in  them." 

"Yes;  Guy." 

"I  saw  lots  of  bananas  on  the  sidewalk,  and  a  man  sell- 
ing them." 

"Luke." 

"I  saw  a  man  selling  pea-nuts,  and  he  had  a  little  oven 
where  he  baked  them." 

"Gertie." 

"  I  saw  ever  so  many  dolls  in  a  store  window." 

"Sadie." 

"  I  saw  a  man  with  lots  and  lots  of  balloons,  and  one  got 
away  from  him." 

"Fritz." 

"I  saw  some  deer  on  the  Common,  and  I  fed  them, 
too." 

"Lewis." 

"  I  saw  ever  so  many  houses  close  together." 

"Josie." 

"  I  saw  a  boy  selling  newspapers." 

"Helen." 

"I  saw  some  long  sticks  of  candy  in  the  shop  window." 

"Eugene." 

"  T  li<i;ml  ;i  l>:m<l  of  music." 

"  Yos,  but  \\-\r.\\  did  you  sec?"  queries  the  teacher,  seeking 
to  train  the  child  to  be  exact. 

"I  saw  it  too,"  straightway  responds  that  quick-witted 
youngster. 


LANGUAGE.— CONVERSATION  LESSONS.         201 

There  is  no  denying  this,  so  the  teacher  covers  her  defeat 
by  calling  upon  Lucy,  who  says, 

"  I  saw  lots  of  ladies  with  silk  dresses  on,  out  walking." 

""JTou  mean  that  you  saw  a  great  many  ladies  out  walk- 
ing, who  wore  silk  dresses.  Jessie." 

"  I  saw  the  swans  in  the  Public  Garden." 

"Herman." 

"I  saw  the  fountain  on  the  Common,  where  the  water 
went  up  ever  so  high." 

"Madge." 

"  I  saw  lots  and  lots  of  pretty  flowers  in  the  Public  Gar- 
den." 

"  Can't  you  tell  us  that  in  a  better  way?" 

"I  saw  a  great  many  pretty  flowers  in  the  Public  Gar- 
den." 

"  Yes,  that  is  very  nice.    Bruce." 

4 '  I  went  with  my  father,  and  he  took  me  down  to  the 
wharves,  and  I  saw  the  big  ships." 

"Dannie." 

"  My  father  took  me  all  through  the  '  Big  Market.'  " 

"Ellen." 

"  I  seen  the  State  House." 

"  Who  can  say  that  just  right  for  Ellen?    Sadie." 

u  I  saw  the  State  House." 

"Yes.    Josie." 

1 '  I  went  with  my  mamma,  and  we  saw  a  whole  store  full 
of  playthings." 

"Donald,  what  did  you  see?" 

"An  awful  big  tea-kettle  hanging  outside  of  a  store; 
boiling  too." 

"Yes,  I've  seen  it,"  adds  the  teacher,  "but  I  should  call 
it  a  very  large  tea-kettle,  Donald."  The  boy  looks  as 
though  he  appreciates  both  the  correction  and  the  deli- 
cate fashion  in  which  it  was  made ;  and  after  a  slight  pause 
to  let  the  children  dwell  for  an  instant — if  they  will — 


202       THE  "QUINCY  METHODS"   ILLUSTRATED. 

upon  the  criticism,  the  teacher  closes  the  lesson  by  remark- 
ing, 

"The  next  time  you  go  to  Boston,  wear  your  'thinking 
caps,'  and  have  your  sharpest  pair  of  eyes  with  you,  so  as 
to  see  a  great  many  new  things  to  tell  me  when  I  ask  you 
again." 

The  subject  of  another  talk  is  what  the  children  did 
during  vacation,  and  the  conversation  is  carried  on  thus : 

The  teacher  says,  "  How  many  of  you  had  a  good  time 
last  vacation?"  All  faces  brighten,  and  all  the  hands  go  up. 
"I  thought  so.  Now,  I'd  like  to  know  what  you  did? 
Who  is  ready  to  tell  me?  Julia." 

"  I  went  to  see  my  grandma." 

' *  How  nice !    Where  does  she  live?" 

"In  Salem." 

'•Sammie." 

"  I  picked  huckleberries,  and  sold  them." 

"What  did  you  do  with  the  money?'' 

"  I  saved  it  up  to  buy  me  a  new  hat." 

"Good  boy.    Norah." 

"  I  went  to  a  picnic." 

"  And  what  did  you  do  there." 

"  I  went  to  swing,  and  I  had  an  ice-cream,  and  I  went 
out  on  the  water,  and  I  saw  them  dance." 

'  *  That  was  delightful.    Rufus. " 

"  I  went  out  sailing  on  the  water." 

"  Were  you  sea-sick?" 

"No'm,  I  wasn't,  but  I  saw  some  folks  that  were  awful 
sick  " 

"  It  makes  some  folks  very  sick"  (with  a  significant  glance 
at  the  last  speaker)  "  to  go  on  the  water.  Julius." 

"  I  went  down  to  Nantasket." 

"  What  did  you  see  there?" 


LANGUAGE.— CONVERSATION  LESSONS. 

"I  saw  'Punch  and  Judy,'  and  some  people  riding  in  a 
chair — "  he  hesitates. 

"Anything  else?" 

"The  glass-blowers,  and  the  wax-works." 

"  Bessie,  tell  us  what  you  did." 

"  I  helped  my  mamma." 

"That's  my  girl !    How  did  you  help  her?" 

"I  washed  the  dishes  some  days,  and  I  swept  the  floor." 

"Phil." 

"I  went  to  ride  on  my  father's  team." 

"How  many  horses  does  your  father  drive?" 

"  He's  got  six  in  his  big  team." 

"You may  say  he  has  six.    Frank." 

"  I  rode  into  Boston  on  a  stone  team  once." 

"Who  did  you  go  with?" 

"Mr.  C ." 

"Did  you  help  him  any?" 

"I  held  the  horses  for  him  while  he  loaded  up." 

"I  like  that.    Lu." 

"  I  made  a  dress  for  my  dolly  one  day." 

"  I'd  like  to  know  who  cut  it  out?" 

"I  did  it  myself." 

1 '  What  a  little  dressmaker !    Millie." 

"  I  took  Mrs.  F.'s  baby  out  to  ride." 

"  That  was  nice;  where  did  you  take  her?" 

"  Down  to  the  engine-house,  and  over  the  bridge,  up  past 
the  blacksmith's  shop,  home  to  her  house." 

"Freddie." 

"  I  went  into  Boston  once." 

'•  Who  went  with  you?" 

"  My  mamma,  and  my  little  Johnnie." 

"Did  you  have  a  good  time?" 

"Yes'm." 

"Charley." 

"I  went  down  to  the  shore,  and  stayed  a  week." 


204      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"  What  did  you  do  there?" 

"I  went  in  bathing,  and  I  dug  some  clams,  and  I  dug  a 
great  hole  in  the  sand,  and  put  shells  all  around  it;  and  one 
day  I  got  hold  of  a  great  long  piece  of  sea- weed,  and  pulled 
it  out." 

"  Did  you  catch  any  fish?" 

"No'm;  they  wouldn't  let  me." 

"Mikie." 

"I  helped  some  men  make  hay." 

"  What  part  of  the  work  did  you  do?" 

"  I  raked  some,  and  I  rode  on  the  load." 

Such  exercises  as  these  afford  also  a  favorable  oppor- 
tunity for  the  cultivation  of  the  imaginative  powers.  An 
illustration  of  their  application  in  this  manner  follows. 

"I  want  you— every  one,"  says  the  teacher,  "to  do  this: 
lay  your  head  down  on  your  desk,  take  a  nap,  and — dream." 
All  the  heads  go  down,  but  two  or  three  are  restless 
sleepers,  and  shuffle  their  feet  in  their  dreams. 

"I  am  sorry  to  hear  that  some  few  little  people  are  not 
still  when  everybody  else  wishes  to  sleep."  After  two 
minutes  of  profound  silence  the  teacher  says,  "Wake  up, 
little  children,  and  tell  me  what  you  dreamed.  Arthur." 

"  I  dreamed  I  had  a  steamboat,  and  a  ferry-boat,  and 
when  I  went  to  sea  I  put  the  steamboat  behind  the  ferry- 
boat." 

"That  was  a  queer  thing  to  do.    Clarence." 

"I  dreamed  I  had  a  dog." 

"Have  you?" 

"No'm,  but  I'm  going  to  have  one  some  day." 

"Peter." 

"I  dreamed  that  I  went  to  Boston  and  bought  a  dog." 

"  I  think  you  must  have  got  it  for  Clarence.    Flora." 

"I  dreamed  that  my  mother  was  a  school-teacher." 

"  Would  you  like  to  go  to  school  to  her?" 


LANGUAGE.— CONVERSATION  LESSONS.          2O$ 

"Yes'm." 

"Harry." 

"  I  dreamed  that  I  had  a  rhinoceros." 

"  Oh  dear!  what  did  you  do  with  him?" 

"I  put  him  in  the  barn." 

"Herman." 

"  I  dreamed  that  I  had  a  white  horse,  and  it  came  up  and 
bit  me." 

"  Did  it  hurt?" 

"Some." 

"Jessie." 

"  I  dreamed  that  I  had  a  china  doll." 

"  What  did  you  do  with  it?" 

"I  gave  it  to  baby  to  play  with." 

' '  What  a  nice  dream !    Henry. " 

"  I  dreamed  that  I  had  a  giraffe." 

"  How  did  it  look?" 

"  It  had  a  long  neck,  and  was  white,  with  black  spots." 

"Yes.    Eddie." 

"I  dreamed  that  I  was  a  little  kitten." 

"What  did  you  do?" 

"  I  caught  rats  and  mice." 

* '  What  a  smart  kitty !    OUy. " 

"  I  dreamed  that  I  was  a  man,  and  had  a  gold  watch." 

"  Perhaps  that  will  come  true.     Lily." 

"I  dreamed  that  my  mamma  bought  me  a  new  hat." 

"  Do  you  want  one?" 

"Yes'm." 

"Madge." 

"  I  dreamed  that  my  mamma  made  me  a  *  turnover,'  and 
I  ate  it." 

"  Didn't  you  give  anybody  else  a  bit?" 

"  No'm,"  replies  Madge,  coloring;  "  I  forgot  it." 

"  I  hope  that  was  only  a  dream.    Fritz." 

"  I  dreamed  that  I  was  a  poor  ragged  beggar-man." 


206       THE    "QUINCY  METHODS"   ILLUSTRATED. 

"  Did  anybody  help  you?" 

Slowly,  as  if  trying  to  recall,  Fritz  answers,  "I  think 
you  did." 

"I  hope  I  should,  if  you  needed  help,"  says  the  teacher 
smilingly.  '  *  Tommy. " 

"  I  dreamed  that  I  had  a  rocking-horse." 

"  What  color  was  it?" 

"Black." 

"  Mabel." 

44 1  dreamed  that  I  went  to  see  Fannie  G." 

"What  did  you  do  after  you  got  there?" 

"  Oh,  we  played  go  a- visiting." 

' '  How  charming !    Larry. 

"  I  dreamed  that  my  dog  ran  away  and  got  lost." 

"Did  you  ever  find  him?" 

"No'm;  I  woke  up  too  soon." 

"Sophia." 

"I  dreamed  that  I  went  to  Boston,  and  bought  my  dolly 
a  carriage." 

"  How  much  did  it  cost?" 

"A  dollar." 

1 '  I  think  it  would.    Josie. " 

"  I  dreamed  that  my  baby  came  to  school  to-day." 

"  And  what  did  we  do  with  it?" 

"  I  held  it  in  my  lap." 

"  I  suppose  it  didn't  cry?" 

"No'm." 

"Horace." 

"  I  dreamed  that  I  saw  a  lot  of  soldiers." 

"Where  were  they?" 

"  Marching  down  Main  Street." 

"  Amy."- 

"I  dreamed  that  my  mamma  said  I  might  go  up  to 
grandpa's." 

"How  did  that  please  you?" 


LANGUAGE.— CONVERSATION  LESSONS.          2O? 

"  I  was  very  glad." 

"Yes,  and  I  am  very  glad  to  see  what  a  nice  lot  of 
dreamers  I  have.  Next  time  the  rest  may  tell  their 
dreams.  First  row,  go  to  the  number  table.  Second,  copy 
the  red  words  on  the  blackboard.  Third  row,  come  to  me. 
The  fourth  row  draw  this  story  on  their  slates  :  If  a  girl 
has  six  mittens,  how  many  pairs  has  she?  The  babies  may 
go  to  the  block  table,  and  each  one  build  me  four  nice 
houses." 


CHAPTEE  IT. 

AN  ACTION  LESSON. 

In  the  Language  Work  thus  far  illustrated,  the  thought 
has  controlled  the  expression  almost  entirely.  In  the  les- 
sons that  follow,  thought  and  its  expression  are  equally  in 
the  child's  mind. 

PURPOSE  OF  THE  LESSON.—  To  train  the  children  (1)  to  ob- 
serve closely,  (2)  to  describe  accurately. 

PREPARATION  MADE  BY  THE  TEACHER.— Deciding  upon  the 
actions  to  be  perf ormed. 

PREPARATION  MADE  BY  THE  PUPILS.—  Whatever  power  of 
attention  they  possess,  and  all  the  skill  in  the  use  of  Lan- 
guage that  they  have  gained. 

PLAN  OF  THE  LESSON.— (1)  Take  a  book  from  the  table, 
and  put  it  on  the  chair. 

(2)  Take  the  book  from  the  chair,  and  put  it  in  the  table- 
drawer. 

(3)  Take  the  waste-basket,  and  put  it  on  a  child's  desk. 

(4)  Have  that  child  put  it  back  in  its  place. 

(5)  Have  a  child  bring  me  his  hat. 

(6)  Take  two  children  by  the  hand,  and  walk  up  and 
down  the  platform. 

(7)  Write  the  word  clap  on  the  board. 

(8)  Have  the  children  perform  the  action,  to  rest  them. 

(9)  Write  the  same  word  again,  and  have  them  repeat 
tin'  action. 

(10)  Erase  the  two  words. 

(11)  Whisper  to  a  child  to  hold  up  his  head,  and  walk  en- 


AN  ACTION  LESSON. 

tirely  around  the  room ;  then  go  to  his  seat,  fold  his  arras, 
and  sit  down. 

(12)  Go  up  to  one  of  the  children,  shake  hands  with  him, 
and  say  "  Good  morning.  How  do  you  do  to-day?" 

Close  by  having  the  children  go  to  their  seats  to  draw  a 
picture  of  the  last  action. 

MEM. — watch  for  superfluous  ands. 

THE  LESSON. 
GENERAL    EXERCISE. 

It  is  ten  o'clock  in  the  morning  of  a  bright  May-day ;  all 
the  groups  have  read,  the  Busy- Work  has  been  examined, 
the  materials  collected  and  put  away.  The  children  are  all 
in  their  seats,  and  the  time  for  a  general  exercise  has  come. 

"Let  me  see  which  line  looks  the  best, "is  the  teacher's 
opening  remark.  It  would  be  difficult  to  decide,  a  second 
after  she  makes  it,  so  hastily  do  the  children  shift  into  the 
middle  of  their  seats  and  assume  the  correct  attitude. 
Still,  things  are  not  quite  to  the  teacher's  mind,  for  pres- 
ently she  observes,  * '  I  think  it's  rather  hard  that  all  of  us 
have  to  stay  quiet  so  long,  waiting  for  three  careless  chil- 
dren." 

The  three  referred  to  at  once  blush  themselves  into  no- 
tice, and  straighten  themselves  into  position;  when  the 
teacher  goes  on : 

"Now  look  right  into  my  eyes,  and  do  as  I  do."  She 
holds  her  forearms  up  in  front,  and  then  begins  shaking  her 
hands  violently  backward  and  forward,  the  hands  being 
perfectly  limp,  and  the  impetus  given,  coming  entirely 
from  the  wrists. 

The  children  watch  her  intently,  and  imitate  her  motions 
with  great  fidelity. 

"  Now  do  this;"  and  she  waves  her  hands  backward  and 
forward  rapidly. 


210      THE    "QUINCY  METHODS"   ILLUSTRATED. 

"  Put  your  hands  over  your  desk!"  is  the  next  command, 
followed  immediately  by  the  changes,  "Now  under!  Now 
inside !" 

These  are  obeyed  with  great  alacrity  by  the  little  ones, 
who  enter  into  the  impromptu  exercises  with  heart  and 
soul  as  well  as  body. 

1  'Stand!"  The  word  brings  them  to  their  feet,  like  an 
electric  shock.  "Now  warm  your  hands  as  men  do — ex- 
press-men." 

This  sets  the  children  all  to  laughing  and  panting. 
"Snap  your  fingers!  Loud!"  are  the  next  directions. 
"  Sit!"  They  drop  as  if  they  were  shot  into  their  seats  by 
unseen  machinery. 

"I  am  going  to  do  something,"  continues  the  teacher, 
"and  you  may  watch  me  carefully,  and  then  I  will  see  who 
can  tell  me  what  I  have  done." 

The  room  is  now  perfectly  quiet,  the  stillness  being 
broken  only  by  the  sound  of  the  teacher's  footsteps  as  she 
goes  to  her  table,  takes  a  book  which  is  lying  there,  and 
puts  it  on  her  chair,  every  motion  noted  by  the  seventy- 
five  pairs  of  keen  young  eyes  fixed  intently  upon  her. 

Immediately  the  action  is  finished,  seventy-five  hands  are 
waving  energetically  in  the  air,  to  signify  that  their  owners 
have  something  they  are  anxious  to  say. 

"  Jennie  may  tell,"  decides  the  teacher. 

The  little  girl  rises,  takes  her  stand  in  the  aisle  just  oppo- 
site her  seat,  assumes  a  good  position,  and  affirms  clearly 
and  distinctly,  "The  teacher  took  a  red  book  from  the 
table  and  put  it  on  the  chair." 

"That  was  told  very  well,"  comments  the  teacher. 
"Now  look!"  Here  follows  another  action,  watched  as 
before,  with  the  closest  attention,  by  the  entire  class;  and 
Helen  is  called  upon  to  describe  what  was  done,  every 
other  child  in  the  room  beiag  a  "Committee  of  One"  to 
judge  of  the  correctness  of  her  account. 


AN  ACTION  LESSON.  211 

The  little  maid  says,  "  The  teacher  took  the  red  book 
from  the  chair,  opened  the  table-drawer,  put  the  book  in, 
and  then  shut  the  drawer. " 

"  Yes.    What  did  I  do  this  time,  Cora?" 

''You  took  the  waste-basket,  and  set  it  on  Mary's 
desk." 

"  That's  right.  Mary  may  put  it  back  again,  and  Lyman 
describe." 

"Mary  took  the  basket  from  her  desk,  and  carried  it 
back  to  the  teacher's  desk." 

"Very  well,  Lyman;  you  may  bring  me  your  hat.  Mag- 
gie, tell  the  story." 

"  Lyman  opened  the  door,  and  went  into  the  hall  and  got 
his  hat,  and  brought  it  back,  and  gave  it  to  the  teacher." 

"  That's  pretty  well,  but  I  think  you  said  and  too  many 
times.  Theo  may  tell  me  what  Lyman  did." 

"Lyman  went  to  the  door,  opened  it,  went  into  the  hall, 
took  his  hat,  and  brought  it  in  to  the  teacher." 

"Theo  is  a  good  boy.  I'll  do  something  now;"  and  the 
teacher  performs  an  action.  "Who  shall  I  call  upon  to  tell 
about  it?"  looking  all  around  the  room,  and  seeing  one  child 
whose  hand  is  not  up ;  and  thinking  it  just  possible  that  he 
has  not  been  attending,  she  calls  his 'name.  John?" 

"Miss  B.  took  hold  of  Nellie's  hand,  and  took  hold  of 
Willie's  hand,  and  all  three  walked  across  the  room  and 
back  again." 

"That  is  just  what  I  did,"  says  the  teacher,  pleasantly 
surprised.  "  Now  what,  Oscar  ?" 

"  The  teacher  took  a  crayon,  and  wrote  clap  on  the  black- 
board " 

"That  is  right.     How  many  times  did  I  write  it,  Oscar?" 

"Once." 

"You  may  all  clap  so  many  times,  just  as  loud  as  you 
can."  This  they  do  with  a  vim.  While  they  are  clapping 
the  teacher  writes  the  word  again,  and  says,  pointing 


212      THE    "QUINCY  METHODS"  ILLUSTRATED. 

toward  the  words,  "Clap  so  many  times,  louder  than  be- 
fore." They  give  two  heavy  claps. 

The  rest  and  relief  which  this  abrupt  change,  from  close 
mental  work  to  vigorous  physical  action,  affords  to  the 
small  students,  is  shown  by  the  more  quiet  intentness  with 
which  they  watch  the  teacher  as  she  resumes  the  lesson,  by 
erasing  both  words  and  calling  upon  Mabel  to  tell  what  was 
done. 

Mabel  says,  "The  teacher  wrote  the  word  clap  on  the 
board  twice,  and  then  took  the  eraser  and  rubbed  it  out." 

"  Jimmie  may  come  here."  When  the  boy  reaches  the 
teacher's  side,  she  stoops  down  and  whispers  to  him.  He 
puts  his  head  high  in  the  air,  and  walks  across  the  plat- 
form, down  the  farther  aisle,  across  the  back  of  the  room, 
—the  whole  class  revolving  in  their  seats  as  he  proceeds, 
—and  up  the  opposite  side  to  his  seat.  Arriving  there, 
he  deliberately  folds  his  arms  and  sits  down,  looking  as 
though  he  thought  he  had  done  something  worth  talking 
about. 

"  Clara,  what  did  you  see?" 

"Jimmie  walked  once  around  the  room,  and  sat  down  in 
his  seat,  and  folded  his  arms." 

"  Several  hands  go  up  at  this,  and  Katie  being  called  upon, 
says,  "I  don't  think  Jimmie  folded  his  arms  after  he  sat 
down." 

"  When  did  he  fold  them?" 

"Before." 

"You  may  tell  us  how  it  looked  to  you." 

"  Jimmie  walked  from  the  teacher  to  the  left  side  of  the 
room,  then  he  turned  and  went  to  the  back ;  walked  across 
there  to  the  right  side  of  the  room,  then  up  the  aisle,  and 
went  to  his  seat ;  then  he  folded  his  arms,  looked  around, 
and  sat  down." 

"I  think  Katie's  eyes  are  a  little  sharper  than  Clara's  to- 
day. I  wonder  now,  if  there  is  another  pair  in  the  room 


AN  ACTION  LESSON.  213 

that  will  see  as  much  as  hers  did,"  going  through  an  action. 
"Robbie." 

"  You  went  up  to  Annie,  and  shook  hands  with  her,  and 
said,  *  Good-morning.  How  do  you  do  to-day? ' " 

"That  is  well  told.  You  may  each  take  your  slate  and 
draw  a  picture  of  the  last  thing  I  did,  and  I'll  write  '  Good- 
morning  '  here  on  the  board,  so  that  you  can  put  that  in 
too ;"  which  she  does. 

Notes  and  Comments. 

One  of  the  notable  things  in  the  Quincy  Schools  is  the 
keen,  unremitting  observation  of  the  pupils  by  the  teacher. 

Does  the  attention  of  a  child  flag  for  a  moment,  he  is  in- 
stantly called  upon  to  take  some  part  in  the  lesson.  Are 
the  children  languid,  they  are  promptly  provided  with 
some  exercise — physical  or  mental — which  arouses  them  to 
their  fullest  activity.  Are  they  becoming  fatigued,  either  a 
restful  change,  similar  to  the  gymnastic  interlude  just  de- 
scribed, is  introduced,  or  the  lesson  is  brought  at  once  to  a 
close. 

In  brief,  their  never-ending  study  of  the  children— the 
material  with  which  they  have  to  deal— gives  these  teach- 
ers the  foundation  of  the  skill  which  enables  them  to  con- 
trol that  material.  It  is  the  great  secret  of  their  success. 


OHAPTEE  V. 

LANGUAGE.— LESSONS  UPON  A  PICTURE. 

ONE  of  the  greatest  difficulties  which  the  child  encounters 
in  his  first  Reading,  is  the  new  idioms  with  which  he  con- 
stantly meets.  This  is  especially  true  of  the  children  of 
uneducated  parents.  With  all  these  different  arrangements 
of  words,  the  child  must  be  made  familiar  before  he  can 
read— in  the  true  sense— the  sentences  in  which  they  occur. 

This  familiarity  should  be  gained  in  oral  Language  Work, 
and  the  form  of  exercise  which  affords  perhaps  the  best  of 
all  means  for  the  introduction  of  new  idioms  is  the  "Picture 
Lessons. " 

Their  special  advantage  lies  in  the  fact,  that  in  these  the 
child  gains  a  thought  to  express,  and  can  be  led— half  un- 
consciously— by  the  teacher,  to  express  it  in  a  new  way. 

The  lesson  here  presented  will  show  the  manner  in  which 
this  may  be  done. 

THE  FIRST  LESSON. 

PURPOSE  OF  THE  LESSON.— Principally  to  train  the  children 
in  the  use  of  unfamiliar  idioms.  Subordinate  to  this  is  the 
development  of  power  to  see  all  there  is  to  be  seen  in  any- 
thing. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  A  long  and 
close  study  of  the  picture  presented. 

Second.  Making  a  list  of  the  phrases  to  be  introduced. 

PREPARATION  MADE  BY  THE  PUP/LS.—AR  the  previous  pic- 


LANGUAGE.— LESSONS   UPON  A   PICTURE.       21$ 

ture  lessons.    Whatever  command  they  have  of  the  English 
language. 

PLAN  OF  THE  LESSON.—  Manage  to  bring  in  the  following 
idioms:  "here  is,"  "this  is,"  "she  has,"  "she  is,"  "is  look- 
ing," etc.  Lead  the  children  to  fill  out  the  picture  hy  asking 
where  the  old  cat  has  been,  and  what  kind  of  a  day  it  was. 
Finish  by  writing  a  sentence  about  the  picture  for  them 
to  copy. 

THE  LESSON. 

At  the  close  of  a  General  Exercise  the  teacher  gives  to 
each  child  in  the  fifth  row  a  tiny  package  of  cards— eight  or 
ten— upon  which  are  written  words  that  the  children 
have  learned.  Of  these  they  are  to  make  sentences.  The 
fourth  row  go  with  the  trainer  to  a  remote  corner  of  the 
room  for  a  reading  lesson.  The  third  row  of  children  are 
set  to  combining  two  vertical  with  two  horizontal  lines  in  as 
many  different  ways  as  they  can.  The  second  are  allowed 
to  go  to  their  places  at  the  blackboard  to  work  upon  the 
drawing  of  a  dog,  begun  the  preceding  period.  The  first 
row  are  invited  to  face  the  wall  nearest  to  them,  upon  which 
the  teacher  now  hangs  a  chromo,  large  enough  to  be  easily 
studied  by  every  member  of  the  group.* 

After  a  moment's  pause — to  allow  the  children  to  satisfy 
their  curiosity  as  to  what  the  picture  represents — the 
teacher  begins,  in  her  low,  pleasant  voice. 

"Look  carefully,  and  when  you  have  a  story  to  tell  me 
raise  your  hand."  Waiting  till  every  pupil  has  found  some- 
thing to  say,  the  teacher  calls  upon  the  one  who  was  ready 
last. 

"Austin." 

*  The  chromo  represents  a  barefooted  child  sitting  upon  the  floor  near  a  table, 
under  which  is  a  basket.  From  this  the  little  girl  has  apparently  taken  two 
kittens  which  she  is  holding. 


2l6      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

"  I  see  the  kitties." 

"Ella." 

"I  see  the  old  cat." 

"Bennie." 

u  I  see  the  little  girl." 

Here  the  teacher  raises  her  hand.  This  amuses  the  chil- 
dren and  arrests  their  attention.  Then  she  asks,  "May  I 
tell  my  story  now?" 

"  Yes'm,"  is  the  quick  response. 

The  teacher,  pointing  toward  the  object  in  the  picture, 
says,  "  Here  is  a  pretty  carpet." 

Of  course  the  next  child  adopts  the  new  idiom,  and  Amy 
announces,  ' '  Here  is  a  shawl ;"  and  Oscar  declares,  ' '  Here 
is  a  basket." 

The  teacher  now  touches  an  object  in  the  picture,  and 
says,  "  This  is  something;  what  is  it,  Hugh?" 

"A  table." 

"  Which  is  a  table?    You  may  touch  it  and  tell  me." 

"  This  is  a  table."  Another  arrangement  of  words  gained. 
Essie  follows  with,  "  This  is  a  ball." 

"Tell  me  something  about  the  little  girl,"  suggests  the 
teacher.  "  Ralph." 

"  She  is  sitting  on  the  floor." 

"Sophie." 

"  She  is  holding  the  kitties." 

"Laura." 

"She  is  barefooted." 

"Gilbert." 

"She  has  got  a  blue  dress  on." 

"  She  Jias  a  blue  dress  on,"  repeats  the  teacher,  emphasiz- 
ing UK-  correction. 

"She  has  curly  hair,"  affirms  Gertie,  unconsciously  imi- 
tating not  only  the  teacher's  idiom,  but  her  inflection  also. 

"Oscar." 

"  She  has  blue  eyes." 


LANGUAGE.— LESSONS   UPON  A    PICTURE.      21? 

"Ida." 

"  The  old  cat  has  two  kitties." 

Every  one  has  said  his  say,  and  there  is  a  pause  in  the 
conversation.  The  teacher  sets  the  heads  and  hands  flying 
again,  by  demanding,  "  Tell  me  what  she  is  doing  with  her 
eyes.  Ealph." 

"She  is  seeing." 

"Another  word." 

"She  is  looking." 

"At  what?" 

"At  the  kitty." 

"Tell  me  the  whole  story." 

"The  little  girl  is  looking  at  the  kitty." 

"  Tell  me  something  else  that  is  looking.    Sophie." 

"  The  old  cat  is  looking  at  the  little  girl." 

"Austin." 

"The  white  kitty  is  looking  at  the  little  girl's  toes. 

"  I  do  believe  she  is !  What  else  is  the  white  kitty  doing? 
Gilbert." 

"  She  is  scratching." 

"With  what?" 

"With  her  claws." 

"  Now,  Gilbert,  we  will  have  the  whole  story." 

"  The  white  kitty  is  scratching  with  her  claws." 

"Something  more  that  the  kitty  is  doing?    Essie." 

"  She  is  opening  her  mouth." 

"What  for?" 

"I  guess  she  is  crying." 

' '  Where  is  the  old  cat  ?    Hugh. " 

"  She  is  standing  close  to  the  basket." 

" I  wonder,"  meditatively,  "where  she  has  been?   Oscar." 

"  Perhaps  she  has  been  out  to  get  some  mice." 

Bennie,  impetuously,  "I  just  bet  she  has  been  out  to  the 
barn  to  hunt  for  rats  and  mice." 

"Bennie  is  a  good  thinker,  but  we  don't  bet;  we  don't 


2l8      THE   "QUINCY  METHODS"  ILLUSTRATED. 

believe  that  it  is  right.  Why  didn't  the  little  kitties  go 
hunting  with  the  old  cat?  Gertie." 

"  They  are  too  little." 

4 'Ida." 

"  They  don't  know  enough ;  so  the  old  cat  left  them  in  the 
basket." 

"But  they  are  not  in  the  basket  now.    Ralph." 

"  No;  the  little  girl  took  them  out  to  play  with." 

"Where  did  the  old  cat  find  them,  Ella?" 

"  In  the  little  girl's  arms." 

Here  a  girl  begins  to  fan  herself  noisily.  "Why  do  you 
fan  yourself,  Laura?" 

"  Because  it  is  so  hot." 

"I  think  you  might  do  it  more  quietly."  The  teacher 
then  says  to  the  class,  "What  kind  of  a  day  do  you  suppose 
it  was  when  the  little  girl  played  with  the  kittens?" 

"A hot  day!"  is  the  chorus. 

"What  makes  you  think  so,  Ella?" 

"Because  the  little  girl  is  barefooted." 

"Sophie." 

"  Sometimes  I  go  barefooted  when  I  am  in  the  house." 

"Essie." 

"  Last  Sunday  it  was  so  hot  that  I  took  off  my  shoes  and 
stockings,  and  laid  down  on  the  floor,  and  went  to  sleep." 

"Did  you  have  a  good  sleep?" 

"Yes'm." 

"Perhaps  this  little  girl  has  been  having  a  nap;  her  eyes 
are  pretty  bright.  You  may  all  lay  your  heads  down  on 
your  desks,  and  get  a  little  nap  to  brighten  up  your  eyes,  so 
that  you  can  read  quickly  what  I  am  going  to  write  about 
this  little  girl." 

The  children  immediately  drop  their  heads  upon  their 
arms  on  the  desks  and  keep  them  down  while  the  teacher 
writes,  though  here  and  there  a  mischievous  eye  may  be 
seen  peering  out  above  the  sleeve  of  the  owner. 


LANGUAGE.— LESSONS    UPON  A    PICTUltE. 

''Wake  up,  children,"  summons  the  teacher,  uand  see 
who  will  read  this  first.  Laura  is  the  quickest.  Tell  us 
what  it  is." 

The  child  reads,  "The  little  girl  is  on  the  floor." 
"Now  you  may  each  take  your  slate  and  pencil  and  write 
this  beautifully  for  me." 

Notes  and  Comments. 

Perhaps  the  most  subtle  stroke  of  skill  in  this  lesson  is  the 
incidental  training  given  to  the  children  in  imagination. 
To  be  able  to  clothe  the  "bare  facts"  of  this  world,  is  a  power 
as  much  to  be  desired,  as  the  power  to  gain  the  facts  them- 
selves—Mr. Gradgrind  to  the  contrary,  notwithstanding. 

The  lesson  just  described,  which  takes  note  in  a  general 
way,  of  the  objects  represented  in  the  picture,  is  followed  by 
a  second,  devoted  to  the  idea  of  color,  as  developed  in  the 
chromo;  then  by  a  third,  in  which  the  attention  of  the 
children  is  called  to  special  points,  one  of  these  being  ma- 
terial, as  brought  out  by  the  teacher's  question,  "  What  are 
the  things  in  the  picture  made  of?" 

The  fourth  lesson  deals  with  location — i.  e.,  where  the 
things  are,  and  the  fifth  with  the  uses  of  the  objects  seen. 

The  sixth  takes  up  the  division  into  animate  and  inani- 
mate objects,  and  designates  all  of  each  kind.  This  in- 
volves giving  names  to  the  little  girl  and  the  kittens. 
After  some  discussion  by  the  class,  the  child  is  called  Jennie 
Allen,  and  the  kittens  are  named  Buzzy  and  Fuzzy. 

The  seventh  lesson  is  an  exercise  in  recalling.  In  it  the 
teacher  allows  the  class  to  look  at  the  chromo  two  minutes, 
with  the  understanding  that  after  that  time  it  shall  be  put 
out  of  sight.  It  is  then  rolled  up  and  laid  upon  the  table, 
and  the  children  make  their  stories  from  their  recollection 
of  the  picture. 

During  this  whole  series  of  lessons,  the  work  is  cumula- 
tive, each  one  involving  all  that  has  gone  before. 


22O      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

To  illustrate:  In  the  seventh  lesson  a  child  says,  "The 
carpet  on  the  floor  is  made  of  red,  white,  and  blue  wool, 
and  is  meant  to  walk  upon."  This  sentence  includes  the 
results  of  the  first,  second,  third,  fourth,  and  fifth  lessons. 

The  eighth  lesson  is  the  summation  of  the  seven  that  have, 
preceded  it,  and  really  consists  of  a  set  of  oral  composi- 
tions. As  it  exemplifies  the  last  stage  of  Picture  Language 
Work,  it  is  given  in  full. 

THE  EIGHTH  LESSON. 

PURPOSE  OF  THE  LESSON.— First.  To  inspire  each  child 
to  think  his  own  thoughts. 

Second.  To  lead  each  child  to  tell  his  thoughts  in  his  own 
fashion. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Making  up  as 
many  stories  as  possible  about  the  picture,  in  order  to  be 
able  to  judge  those  told  by  the  children. 

Second.  Thinking  to  arrange  the  drawing  of  the  picture 
for  Busy- Work. 

PREPARATION  MADE  BY  THE  /W/V/.S.— Every  lesson  they  have 
ever  had  that  aided  them  in  the  expression  of  their  ideas. 

PLAN  OF  THE  L  ESS  ON.  —Give  the  children  a  chance  to  draw 
the  chromo,  for  Busy- Work,  just  before  the  lesson ;  at  the 
same  time  tell  them  that  they  will  be  called  upon  soon  for 
some  long  stories  about  the  picture.  Select  the  best  talkers 
in  the  group  to  tell  the  first  stories,  to  help,  and  inspire  the 
rest.  Commend  the  efforts  of  the  children,  but  act  as  if 
still  better  things  were  expected  from  each  new  pupil  called 
upon. 

M EM.— Watch  closely  for  errors  of  all  sorts. 

THE  LESSON. 

The  fifteen  minutes  preceding  tlio  period  for  the  Language 
lesson,  is  filled  with  Busy-Work.  <m  IMs  particular  day,  and 


LANGUAGE.— LESSONS    UPON  A    PICTURE.       221 

the  teacher  hangs  the  chromo  where  all  the  group  can  see 
it  plainly,  then  announces,  "I  am  going  to  have  each  one  of 
the  first  row  tell  me  a  long  story  about  this  picture,  pretty 
soon,  but  before  it  is  time  for  your  class  to  be  called,  you 
may  try  to  draw  it  on  your  slates." 

A  little  before  the  time  given  to  this  Busy- Work  is  over, 
the  teacher  passes  down  the  aisle  to  examine  and  approve 
the  drawings.  They  are,  as  might  be  expected,  very  crude, 
but  the  location  of  objects  is  generally  correct.  The  most 
noticeable  thing  about  them  is  their  intense  individuality ; 
each  little  artist  having  given  the  greatest  prominence,  in 
his  sketch,  to  whatever  object  in  the  picture  has  made 
upon  him  the  strongest  impression. 

When  the  minute  for  the  lesson  arrives,  the  teacher  puts 
this  question:  "How  many  have  thought  of  a  nice  long 
story  for  me,  about  the  picture?"  Every  boy  and  girl  in 
the  row.  "Who  has  the  longest  one,  I  wonder?  I  want 
only  the  longest."  It  would  seem  that  every  child  is  sure 
that  his  is  the  most  lengthy.  "  Bennie,"  selects  the  teacher, 
"tell  us  yours,  and  let  us  see  if  it  is  good  and  long." 

Bennie,  proud  to  be  the  first  chosen,  rises  with  an  as- 
sumption of  great  dignity,  and  says,  "  One  day,  old  Mother 
Pussy  and  her  two  kitties  were  asleep  in  a  basket,  and 
Jennie  Allen  came  in,  and  sat  down  to  the  side  of  it,  and 
took  out  the  two  kitties  to  play  with." 

A  little  girl  puts  up  her  hand  as  if  troubled  about  some- 
thing. 

"What  is  it,  Ida?" 

"  He  didn't  tell  the  names  of  the  kitties." 

"  What  are  their  names,  Bennie  ?r' 

"Buzzy  and  Fuzzy." 

"Was  Bennie's  story  right  every  other  way,  children?" 
inquires  the  teacher.  No  one  has  any  objection  to  offer. 
The  teacher  slowly  repeats,  "And  Jennie  Allen  came  and 
sat  down  to  the  side  of  it."  Still  the  little  ones  are  not 


222      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

able  to  say  what  is  wrong,  and  look  at  the  teacher  in  a 
puzzled  fashion,  trying  hard  to  make  out  what  she  means. 

"Children,  do  you  remember  the  picture  of  the  kitchen 
where  the  woman  was  standing—"  pauses,  and  the  class 
adds  "By  the  table." 

"Then  we  will  say  Jennie  is  sitting—" 

"By  the  basket!" 

"Yes.  Do  not  let  us  forget  that,  when  we  talk  about 
Jennie  Allen  again.  Ellie  may  tell  her  story,  if  it  is  very 
long." 

"Jennie  Allen's  mother  put  her  blue  dress  on  to  her,  and 
told  her  she  might  play  with  the  kitties.  She  took  Buzzy 
in  one  hand  and  Fuzzy  in  the  other,  and  old  Pussy-cat 
looked  at  her,"  is  Ellie's  story.  "Was  that  just  right?" 
queries  the  teacher.  There  is  no  response  from  the  group. 
"When  she  said,  her  'Mother  put  her  dress  on — to— her?" 
says  the  teacher,  isolating  the  obnoxious  word,  and  the 
children  call  out  simultaneously — 

"  Put  her  dress  on  her!" 

"Let  us  hear  Oscar's  story,"  decides  the  teacher,  and 
Oscar  draws  a  long  preliminary  breath,  and  begins: 

"Old  Pussy-cat  had  two  kitties;  the  white  one  was 
Buzzy  and  the  black-and-white  one  was  Fuzzy.  Old 
Mother-cat  went  out  to  the  barn  to  get  some  mice,  and  left 
the  kitties  asleep  in  their  basket.  While  she  was  gone,  a 
little  girl  named  Jennie  Allen  came  in  and  took  them  out 
of  the  basket,  and  when  the  Mother-cat  came  back  she 
!'«i!:rd  at  Jennie." 

"I  call  that  a  very  nice,  long  story,"  warmly  commends 
the  teacher.  "I  am  sure  that  Oscar  tried  hard  to  think 
that  up,  and  he  told  it  well  too.  I  wish,  that  I  could  have 
as  fine  a  one  from  a  little  girl.  We  have  had  two  from  the 
boys,  and  I'd  like  two  from  the  girls,  just  as  good,  and 
better  if  they  can  make  them.  Has  Laura  one  ready?" 

"Yes'm." 


LANGUAGE.— LESSONS   UPON  A   PICTURE.      223 

"  Very  well." 

Laura  narrates:  "A  little  girl  named  Jennie  Allen 
wanted  to  play  with  the  kitties.  She  looked  in  the  basket 
and  found  them  asleep.  She  took  Buzzy  out  carefully,  and 
put  her  up  on  her  shoulder,  and— I  guess  she  didn't  wake 
her;"  looking  closely  at  the  picture,  "she  doesn't  look  as 
if  she  was  awake.  But  Buzzy  stuck  her  claws  out,  and 
scratched  Jennie,  and — Buzzy  opened  her  mouth  as  if  she 
was  crying." 

The  last  two  or  three  sentences  are  evidently  extempora- 
neous, and  added  for  the  sake  of  saying  something. 

"That's  quite  a  story,"  comments  the  teacher,  "but 
there  was  one  thing  that  didn't  just  please  me.  You  said, " 
referring  to  the  paper  upon  which  she  jotted  down  the 
errors  as  they  occurred,  "'I  guess  she  didn't  wake  her;7 
who  can  make  that  sentence  better?  Essie." 

"  I  guess  kitty  didn't  wake  up." 

"  'I  guess,'"  repeats  the  teacher,  to  give  them  the  cue. 
"Austin." 

"I  think  kitty  didn't  wake  up." 

"That's  better,"  agrees  the  teacher,  "but  the  last  of  the 
sentence  doesn't  sound  right." 

This  criticism  is  beyond  the  little  ones,  and  they  must  be 
told,  so  the  teacher  says,  "  Listen!  we  will  say,  kitty  didn't 
wake ;"  continuing  after  a  slight  pause,  to  let  their  minds 
dwell  for  a  little  upon  the  new  impression,  "there  is  time 
for  just  one  more  story,  if  it  is  a  very  fine  one.  I  wish  it  to 
be  the  best  of  all;  who  can  tell  it?" 

There  is  not  a  boy  nor  a  girl  in  the  line  who  does  not 
consider  himself  or  herself  equal  to  the  occasion,  and  the 
teacher  must  make  a  choice.  This  she  does  after  some 
looking,  and  Sophie  is  selected.  She  is  pleased  to  have  the 
post  of  honor  assigned  to  her,  and  starts  off  in  true  story- 
telling style : 

"It  was  a  hot  day,  and  Mrs.  Allen  took  off  Jennie's  shoes 


224      THE    "QUINCY  METHODS"   ILLUSTRATED. 

and  stockings,  and  put  her  to  bed.  When  Jennie  woke 
she  wanted  to  play  with  the  kitties ;  so  she  went  into  the 
room  where  they  were,  and  took  them  out  of  the  basket, 
and  Buzzy  scratched  her.  Jennie's  mother  didn't  know 
where  she  was,  and  old  Mother-cat  jest  came  in,  and  found 
her  kitties  in  Jennie's  arms." 

"  I  am  sure  that  was  a  fine  story,"  declares  the  teacher; 
"but  how  would  you  say  this  word  "—picking  up  a  crayon 
and  writing  just  on  the  board.  Sophie  colors  like  a  blush- 
rose,  and  calls  out, 

"Just." 

"Yes,  I  wish  that  we  had  time  for  more  stories  to-day, 
but  we  haven't  a  moment.  To-morrow,  then,  I  shall  expect 
even  better  ones  than  we  have  been  having.  I  hope  that 
every  one  will  be  ready.  Good-by." 

Notes  and  Comments. 

The  happy  art  of  inspiring  each  child  to  do  his  best,  with- 
out developing  that  susceptible  faculty,  self-conceit,  is  well 
illustrated  in  this  lesson. 


OHAPTEE    VI. 
LANGUAGE.— STORY  LESSONS. 

PURPOSE  OF  THE  LESSON.— 

First.  To  arouse  thought. 

Second.  To  stimulate  to  expression. 

Third.  To  quicken  imagination. 

Fourth.  To  train  in  recalling. 

Fifth.  To  exercise  in  the  use  of  language. 

Sixth.  To  form  the  habit  of  attention. 
PREPARATION  MADE  BY  THE  TEACHER.— Composing  the  story, 
making  out  the  lists  of  words  to  he  used,  planning,  and 
practising  the  drawing. 

PREPARATION  MADE  BY  THE  PUPILS.—  Their  natural  love  for 
stories,  and  all  the  training  that  they  have  had  in  thought 
and  its  expression. 

PLAN  OF  THE  LESSON.—  Tell  the  story  of  the  Farmer  and 
the  Fox.  Make  it  graphic,  hy  sketching  the  objects  intro- 
duced, whenever  practicable.  In  the  course  of  the  narra- 
tive, bring  in  as  many  words  belonging  to  the  children's 
written  vocabulary  as  possible,  writing  instead  of  speaking 
them;  thus  leading  the  pupils  to  observe  the  words  used, 
and  making  the  exercise  also  serve  as  a  review  in  reading. 


THE  FIEST  LESSON. 


OENERALj  EXERCISE. 


The  teacher  is  conducting  a  writing  lesson.    She  stands 
at  a  blackboard  on  the  right  side  of  the  room,  and  all  the 


226      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

children,  sitting  side  wise  in  their  seats,  face  her,  and  make 
on  their  slates  the  letter  as  she  writes  it  on  the  board. 

Suddenly,  before  the  attention  has  begun  to  flag,  before 
a  child  has  begun  to  tire,  she  calls  out,  "Lay  your  pencil 
on  your  slate,  place  your  slate  in  the  middle  of  your  desk, 
and  face  front." 

Stepping  lightly  to  the  board  opposite  their  seats,  as  the 
children  turn,  she  continues,  as  if  thinking  aloud,  while 
her  quick  eyes  take  "in  at  a  glance  every  lounger  in  the 
room,  "  I  am  looking  to  see  who  sits  the  best." 

Apparently  the  desire  to  shine  as  a  bright  particular 
star  is  common,  for  with  one  accord  the  children  bring 
their  feet  together,  sit  farther  back  in  their  seats,  fold  their 
hands,  and  hold  up  their  heads,  waiting  for  the  verdict. 

"  I  am  afraid  I  can't  tell  now,  there  are  so  many,"  is  her 
decision,  after  an  instant's  smiling  survey;  "  but  I  can  tell 
you  about  something  else  that  has  a—"  turning  to  the 
board,  she  writes;  "Nose!"  call  out  the  children;  "like," 
beginning  to  sketch,  "that" — having  made  the  nose  of  a 
fox. 

"A  fox!"     "A  rat!"     "A  fox!" 

The  teacher  goes  on,  unheeding  the  children's  guesses. 
"This—"  she  writes;  "Animal,"  pronounce  the  children; 
"that  I  am  going  to  tell  you  about,"  she  resumes,  drawing 
rapidly  as  she  talks,  "has  a  sharp  nose,  sharp—"  writing 
eyes,  "and  pointed — "  writing  ears;  "Eyes  and  ears!" 
chorus  the  class.  "And  he  has  whiskers,"  drawing  them 
as  she  speaks?  "A  rat!  A  rat!  A  cat!"  call  out  the  class; 
"and  a  long  bushy—"  writing  tail. 

The  children  pronounce  the  word  and  follow  it  imme- 
diately with  the  guess— "A  squirrel!"  Utterly  unmindful 
of  these,  the  teacher  continue!*,  "He  doesn't  wear  a—" 
writes;  "Coat!"  say  the  children;  "like  yours,"  facing 
about,  and  pointing  to  a  little  fellow  who  has  just  arrived 
at  the  dignity  of  his  first  ulster;  "  nor  like  yours,"  indicat- 


LANGUAGE.— STORY  LESSONS.  22/ 

ing  a  small  girl,  whose  new  cloak  is  still  a  source  of  envy 
to  half  the  little  women  in  the  room;  u neither  is  it  like 
mine." 

"It  is  made  of—"  writes;  "Fur!"  declare  the  children; 
"and  sometimes  it's—"  writing  red;  "and  sometimes- 
writing  again,  black;  "Red  and  black,"  call  out  the  class; 
"  and  sometimes  it's  silvery." 

"A  fox!"  "A  silver  fox!"  guess  the  children  as  the 
teacher  completes  her  sketch,  and  a  fox  stands  displayed 
upon  the  board. 

"  Yes,"  says  the  teacher,  "  it  is  a—"  writing  fox.  "  This 
fox  was  so  very  sly— what  does  it  mean  to  be  sly?"  is  the 
unexpected  question.  One  hand  only  is  raised.  ' '  Grace. " 

"When  any  one  wants  to  do  things  that  are  not  right, 
and  not  let  any  one  know  about  it." 

"Yes,  I  think  it  is,"  comments  the  teacher;  "and  this 
fox  had  grown  so  old  that  he  couldn't— "  writes ;  "Hunt!" 
interpolates  the  chorus;  "the  way  he  used  to,"  proceeds 
the  teacher,  "  so  he  made  up  his  mind  that  he  was  going  to 
do  something  else.  Now  he  didn't  mind  stealing— what  is 
stealing,  Jack?" 

"To  take  things  when  there  didn't  anybody  say  you 
might." 

"Ruthie." 

"To  take  things  when  nobody  knows  it." 

"Albert." 

"To  take  things  that  aren't  yours." 

"Yes,  to  take  things  that  belong  to  some  one  else,  with- 
out leave.  Is  it  right  to  do  so,  children?" 

"No'm!"    "No'm!"    "Never!" 

"But  this  fox  didn't  know  any  better;  he  didn't  know 
how  to  get  anything  to—"  writes;  "Eat!"  chorus  the  chil- 
dren; "any  other  way.  Now  off  over  here,"  indicating  a 
spot  high  up  at  the  farther  end  of  the  board,  "lived  a — " 
writes ;  ' '  Farmer !"  call  out  the  class ;  ' '  and  he  had  a  large — " 


228      THE   ' '  Q  UINC  Y  ME  THODS "   ILL  USTRA  TED. 

she  draws  a  house,  and   then  writes  the  word,   and  the 
children  call  it  out. 

"  And  then  just  here  was  his — "  writing  barn,  and  as  the 
class  pronounce  the  word  the  teacher  begins  to  draw  it, 
saying  as  she  does  so,  "but  he  didn't  keep  his—"  writing 
hens,  chickens,  turkeys,  ducks,  and  geese,  and  the  children 
read  as  fast  as  she  writes,  uin  the  barn;  but  back  of  the 
barn  there  was  a  yard," — making  a  fence, — "and  at  the 
end  of  the  yard  was  a  hen-house,"  drawing  it  with  rapid 
strokes,  "and  here  he  kept  all  his — "  pointing  to  the  words, 
which  the  children  read  again, 

"  Hens,  chickens,  turkeys,  ducks,  and  geese." 
"  That  will  do  for  to  day ;  to-morrow  I  shall  want  to  have 
you  tell  me  all  that  I  have  told  you,  and  see  how  many  of 
these  words,"  pointing  to  the  list  on  the  board,  "  that  I  had 
in  my  story  you  can  put  into  yours." 


THE  SECOND  LESSON. 

GENERAL    EXERCISE. 

The  next  day,  in  the  morning,  before  school  begins,  quite 
a  number  of  the  children  come  in  when  the  first  bell  rings, 
pass  to  their  seats,  take  out  their  slates,  and  begin  to  make 
the  picture  of  the  fox  drawn  by  the  teacher  the  day  before. 

The  first  bit  of  Busy- Work  given  the  classes,  is  to  copy 
the  list  of  words, — nose,  animal,  eyes,  ears,  tail,  coat,  fur, 
red,  black,  fox,  hunt,  eat,  farmer,  house,  barn,  hens,  chick- 
ens, turkeys,  ducks,  geese,  —  now  rewritten  in  beautiful 
chirography.  In  the  afternoon,  about  midway  in  the  ses- 
sion, just  after  a  motion  song,  the  teacher  inquires, 

"  Who  wants  to  tell  us  the  Fox  Story?  Arthur,  we  will 
listen  to  you,  and  see  how  many  of  my  words  you  put  in; 
I  will  mark  them."  So  Arthur  begins. 


LANGUAGE.— STORY  LESSONS.  22Q 

"  Once  there  was  a  fox"  (the  teacher  puts  a  cross  beside 
the  word  fox  in  the  list),  "and  he  stole  things,"  went  on 
Arthur,  '"cause  he  didn't  know  any  better." 

"  J  should  say  because  he  didn't  know  any  better,"  sig- 
nificantly emphasizing  the  corrected  word. 

"And  the  farmer  lived  in  a  house,  and  had  a  barn,  and 
kept  lots  of  ducks,  and  geese,  and  hens,  and  turkeys,  and 
chickens ;"  and  down  he  sits. 

"That's  pretty  well,"  comments  the  teacher;  "but  I'd 
like  to  hear  more  about  the  fox.  Bessie. " 

"A  fox  has  a  long  nose,  and  sharp  eyes,  and  two  ears, 
and  one  tail,  and  some  fur,"  announces  the  little  girl,  and 
then  stops. 

"Did  I  tell  you  about  anything  else?"  interrogates  the 
teacher  suggestively. 

"Oh,  yes! — a  farmer,  and  a  house  and  barn,  and  some 
hens  and  chickens;"  and  that  is  the  end  of  her  story. 

"Who  can  tell  me  anything  they  left  out?"  is  the  teach- 
er's next  demand.  Nearly  all  the  hands  are  up.  u  Robbie, " 

"  They  didn't  say  the  fox  was  an  animal." 

"So  they  didn't.    Stevie." 

"You  said  the  fox's  coat  wasn't  made  like  mine  or  Min- 
nie's." 

"Didn't  you  mean  to  be  a  polite  little  boy,  and  speak  of 
Minnie's  before  you  did  your  own?" 

"Yes'm;  you  said  the  fox's  coat  wasn't  made  like  Min- 
nie's or  mine." 

"You  may  say  Minnie's  nor  mine,  next  time,"  corrects 
the  teacher.  "Ella,  what  have  you  to  say?" 

"  The  fox  was  so  old  he  couHn't  hunt  any  more,  and  get 
things  to  eat." 

" Certainly  I  said  so.     Luke." 

"  There  was  a  hen-house  and  yard,  where  the  ducks,  and 
turkeys,  and  geese  stayed. 

"That's  nice;  come  and  show  me  where  they  are,  on  the 


230      THE   "QUINCY  METHODS"  ILLUSTRATED. 

board."*  He  does  so.  "Everybody  be  ready  to  tell  me 
quickly  something  about  the  first  word.  Mary." 

"I  have  a  nose." 

"The  second,  Alice." 

' '  The  fox  is  an  animal. " 

"I've  heard  that  before  this  afternoon;  tell  me  something 
new.  Phil." 

' '  I  have  an  animal. " 

"Have  you?    What  is  it  ?" 

"A  dog." 

"  Good !    What  about  this  word,  Belle  ?" 

"  The  fox  has  sharp  eyes." 

"The  next,  Millie?" 

"  Ears  are  good  to  hear  with." 

"Yes,  and  I'm  glad  I  heard  that.  The  fifth  word, 
Frank." 

"The  fox  has  a  pretty  tail." 

"Did  you  ever  see  one?" 

"  No,  but  I  saw  a  picture  of  one,  once." 

"Goon,  Fannie." 

"My  father  wears  a  coat  trimmed  with  fur." 

"Just  see!  she  took  my  next  word  away  from  me.  Tell 
me  something  about  the  eighth,  Herman." 

"  Bed  and  black  are  colors." 

"There  go  two  words  again;  what  shall  I  do  ?"  in  a  tone 
of  mock  despair.  "  Ida  won't  treat  me  so— will  you  ?"  But 
Ida,  trying  very  hard  to  look  unconscious  of  her  brilliancy, 
makes  the  following  announcement: 

"The  farmer  hunts  the  fox  to  eat  him."  This  is  news, 
and  the  teacher  cannot  entirely  control  either  voice  or  face 
as  she  answers, 

"  Not  quite:  we  don't  eat  foxes,  my  dear  child;  but  that 
was  a  good  sentence.  Who  wants  the  next  word  ?  Louise." 

*  The  picture  drawn  by  the  teacher,  is  also  left  upon  the  blackboard. 


LANGUAGE.— STORY  LESSONS.  231 

"The  hens,  and  chickens,  and  turkeys,  and  geese,  and 
ducks,  lived  in  a  house  back  of  the  barn." 

4 '  Well !  well !  what  smart  children  I  have !  They  take  my 
words  all  away  from  me,  and  now  I  haven't  one  left.  I 
shall  have  to  tell  you  something  new  about  the  farmer  and 
the  fox  to-morrow,  and  get  some  more  words.  Now  we 
will  go  to  work  again." 


THE  THIED  LESSON. 

GENERAL     EXERCISE. 

"  How  many  would  like  to  have  me  go  on  with  my  Story 
of  the  Fox?"  is  the  teacher's  query,  near  the  close  of  the  day 
following  the  reproduction  of  the  beginning.  Apparently 
the  sense  of  the  meeting  is  overwhelmingly  for  continu- 
ance. "Very  well;  let  me  see  if  the  blackboards  are  in 
order,  the  desks  made  neat,  the  floor  picked  up,  and  my 
children  in  good  position." 

This  speech  creates  a  great  sensation.  Half  a  dozen  start 
for  the  blackboards,  and  fall  to  rubbing  as  vigorously  as  if 
much  depended  upon  the  cleanliness  thereof;  then  two 
children,  a  boy  and  a  girl,  wearing  an  air  of  grave  responsi- 
bility, travel  around  the  room,  placing  the  crayons  and 
erasers  squarely,  and  at  equal  distances  on  the  ledge  at  the 
bottom  of  the  boards ;  two  other  little  ones  hurry  off  to  a 
closet,  from  which  they  bring  waste-baskets,  and  begin  to 
perambulate  up  and  down  the  aisles  with  them. 

In  the  meantime  all  the  other  children  are  either  busily 
clearing  out  their  desks,  or  stooping  down  gathering  from 
the  floor  every  scrap  of  paper  or  bit  of  debris  to  be  found, 
which  they  throw  into  the  baskets  as  they  are  carried  past. 

At  the  end  of  this  performance— which  lasts  hardly  more 
than  two  minutes — there  is  not  a  speck  of  dirt  larger  than 


232      THE   "QUINCY  METHODS"  ILLUSTRATED. 

dust,  visible  anywhere,  and  all  the  small  housekeepers  are 
sitting  erect  and  alert,  with  eyes  fixed  upon  the  teacher, 
waiting  for  her  to  begin,  which  she  does  in  this  way : 

"Down  here"  (on  the  lower  part  of  the  board)  "there 
was  a — "she  writes;  and  the  children  say  "Pond;"  then 
she  draws  a  curving  line  to  represent  its  shape. 

"Now  this  fox,"  resumes  the  teacher,  "wanted  to  get 
some  of  the  farmer's  poultry  to  eat.  What  is  poultry, 
Larry?" 

"Hens,  and  chickens,  and  geese." 

"Yes;  but  he  couldn't,  because—"  drawing  the  animal 
rapidly — "  the  farmer  had  a  great  big—"  writes;  "Dog," 
affirm  the  class.  Then  sketching  a  man :  "  There  was  some- 
thing else  the  fox  was  afraid  of,  and  that  was  the  far- 
mer's—" writes;  "Son!"  chorus  the  children;  "who  had  a 
very  large— "writing;  "Gun  to  shoot!"  call  out  the  class; 
"him  with,"  quietly  adds  the  narrator. 

"Then  the  old  farmer  himself  had  a—"  writes;  "Trap!" 
pronounce  the  children;  "and  the  fox  was  afraid  of  that 
too.  Well,  for  a  long  time  the  fox  had  nothing  to  eat,  and 
he  was  getting  very — "  she  writes,  and  the  children  say 
"  Hungry ;"  "and  he  lay  in  his—"  writing;  "  Den  of  rocks," 
read  the  class. 

"  What  is  a  den  of  rocks?    Clarence." 

"A  hole  all  made  of  stones." 

"Pretty  good.  This  den  was  away  up  at  the  top  of  a 
high—"  writes;  "  Hill!"  is  the  responsive  chorus;  "here  he 
was,  thinking  and  planning  how  he  could  get  some  of  the 
farmer's  poultry.  At  last  a  bright  thought  struck  him;  he 
made  up  his  mind  to  build  a  new  house  for  himself,  and  he 
wasn't  going  to  build  it  far  off  on  the  hill,  but  down 
here,  close  by  the  pond.  "  Now — "  drawing  quickly,  "just 
here  was  a—"  writes ;  "Tree!"  declare  the  children;  "yes, 
and  under  that  tree  he  dug,  and  dug,  a  beautiful  new — " 
writes ;  ' '  Hole !"  exclaim  the  children. 


LANGUAGE.— STORY  LESSONS.  233 

"This  hole,  which  was  his  house,  you  know,  was  divided 
into  three — "writes;  "Booms!"  call  out  the  class.  "The 
first  room,"  continues  the  teacher,  "just  as  you  went  in, 
was  the  company-room,  and  back  of  that  was  his — "  writes ; 
"  Kitchen!"  say  the  children;  "and  up  over  that,"  goes  on 
the  narrator,  "  he  had  a  bedroom. " 

"There  were  two — "  writes;  "Doors!"  declares  the 
chorus;  "a  back  door  and  a  front  door,  so  he  could  come 
in  one  way  and  go  out  the  other.  Well,  when  it  was  all 
done,  he  said  to  himself,  '  Now  I  shall  have  all  I  want  to 
eat ;'  and  then  he  sat  down  to  wait  and  listen.  Pretty  soon 
he  heard  the  hens  and  chickens  and  ducks  and  turkeys 
and  geese  all  cackling,  for  it  was  early  in  the — "  writes; 
"  Morning !"  is  the  chorus. 

"  By  and  by  the  farmer  got  up  and  went  down  to  the  hen- 
house, and  opened  the  door,  and  let  them  all  out  into  the — " 
writes;  "Yard!"  pronounce  the  class.  "Now  the  farmer 
had  made  a — "  writes;  "Walk,"  say  the  children;  "which 
led  from  the  yard  down  to  the  pond,  and  the  ducks  were  in 
such  a — "  writes;  "Hurry  to  swim,"  chorus  the  listeners; 
"in  the  pond,"  goes  on  the  narrator,  "that  they  started 
right  off.  There  was  the — "writing;  "Mamma-duck  and 
the  papa-duck,"  read  the  children;  "and  nine  little  ducks," 
adds  the  teacher. 

"Well,  the  little— "writes;  "Baby-ducks,"  say  the  class; 
"couldn't  walk  very  well,"  continues  the  teacher,  "and  the 
mamma-duck  was  scolding  them,  and  telling  them  not  to 
step  that  way,  but  you  know  they  couldn't  help  it,  because 
their  little — "  writes;  "Feet,"  call  out  the  children;  "were 
made  like  this"—  drawing  with  great  celerity  the  foot  of  a 
duck. 

"What  do  we  call  it,  children?" 

"A  web-foot." 

"And  what  are  the  duck's  feet  made  that  way  for?" 

"  To  swim  with,"  is  the  quick  response. 


234      THE    "QUINCY  METHODS"   ILLUSTRATED. 

11  Yes,  and  that  was  the  reason  they  couldn't  walk  on  the 
ground  any  better.  So  they  went  along,  the  old  mamma- 
duck  saying  quite  crossly, '  Quack !  quack !  quack  1 '  "  (Giv- 
ing these  with  shrill,  harsh  tones.)  "And  the  baby-ducks, 
trying  to  tell  her  that  they  were  doing  the  best  they  could, 
went,  *  Quack !  quack  I  quack ! '  '  (With  soft,  coaxing  in- 
tonations.) "And  the  papa-duck  shouting  out  to  them  all 
the  time  that  the  water  was  very  cold,  and  they  mustn't  go 
out  very  far,  which  sounded  like,  '  Quack !  quack !  quack ! ' " 
(In  a  loud,  rasping  voice.) 

"The  old  fox  in  his  new  hole  heard  them,  and  laughed 
to  himself.  What  do  you  suppose  made  him  laugh,  chil- 
dren?" 

"'Cos  he  thought  'twas  funny,"  is  the  instantaneous  re- 
sponse of  a  thoughtless  little  youngster. 

"Because  he  thought  it  was  funny;  don't  forget  that 
word  next  time,"  warns  the  teacher. 

"Ho!  I  guess  'twas  because  he  wanted  to  eat  them,  "is 
the  characteristic  response  of  a  small  native  of  the  soil. 

"I  guess  he  was  thinking  how  he'd  catch  them  pretty 
soon,  and  then  they  wouldn't  say  *  quack  1  quack !  quack ! ' " 
is  the  deliberate  answer  of  the  "Solon"  of  the  flock. 

"I  shouldn't  wonder  if  that  were  right,"  assents  the 
teacher.  "Who  can  tell  me  now  all  about  the  fox  and 
the  farmer?"  Every  one  seems  to  think  he  can. 

"Very  well,  you  may  go  home  and  think  it  over;  per- 
haps you  will  dream  about  it  to-night,  and  to-morrow  I'll 
see  how  many  can  tell  me  everything  I've  told  you. 
There's  the  bell  for  dismissal.  Good-night ;"  and  they  pass 
out  in  the  usual  order. 


LA  NG  UA  GE. —S  TOR  Y  LE  SSONS.  235 

THE  FOURTH  LESSON. 

GENERAL     EXERCISE. 

In  the  morning,  the  Busy-Work  for  all  the  classes,  is  the 
careful  copying  (with  pencil  and  paper)  of  as  many  of  the 
words  gained  from  the  story  of  the  day  before,  as  time  will 
permit.  These— twenty-five  in  number  (pond,  dog,  son, 
gun,  shoot,  trap,  hungry,  den,  rocks,  hill,  tree,  hole,  rooms, 
kitchen,  doors,  morning,  yard,  walk,  hurry,  swim,  mamma, 
papa,  baby,  feet,  water)  — are  elegantly  written  upon  a 
blackboard  by  themselves. 

The  afternoon  session  is  opened  with  singing,  then  follows 
a  Number  Thinking-game,  carried  on  thus:  the  teacher 
says  briskly, 

"Think  fast,  and  tell  me  two  numbers  that  make  nine.' 
This  demand  sets  all  the  mental  machinery  in  full  motion, 
and  in  a  second  the  room  bristles  with  upraised  hands. 

"Five  and  four,"  "Seven  and  two,"  "Three  and  six," 
"Eight  and  one,"  follow  in  quick  succession.  "Four  and 
four,  and  one,"  is  the  next  answer. 

"How  many  numbers  did  you  give  me,  Jimmie?"  is  the 
quick  question. 

"Three." 

"And  how  many  did  I  ask  for?" 

"  Two." 

"Then  don't  be  a  careless  boy  again,"  is  the  admonition, 
and  Jimmie  sits  down  decidedly  crestfallen.  After  this 
came  " Two  and  seven,"  "Four  and  five,"  "Six  and  three," 
and  "  Eight  and  one,"  and  not  a  hand  is  left. 

The  teacher's  next  demand,  "What  numbers  make 
eight?"  starts  them  all  to  fluttering  again. 

She  gets  this  time  "Three  and  five,"  "Six  and  two," 
"Four  and  four,"  "Five  and  three,"  "Seven  and  one," 


236      THE    " QUINCY  METHODS"   ILLUSTRATED. 

"Six  and  one,  and  one,"  "Three  and  three,  and  two," 
"  Five  and  two,  and  one,"  "  Seven  and  one"— 

"Where  have  you  been,  Walter,  that  you  didn't  hear 
that  before?"  is  her  comment  upon  this;  the  boy  blushes 
and  is  silent,  and  she  calls  for  the  next. 

"Two,  and  two,  and  two,  and  two,"  says  a  little  girl. 

"Yes,  that's  very  nice,"  with  an  approving  smile  at  the 
little  mathematician;  "and  that  will  do  for  this"  (though 
half  the  children  have  still  an  answer  to  give).  "  I  think 
now  I'd  like  to  hear  what  you  have  to  say  about  the 
Farmer  and  the  Fox.  Stevie  may  talk,  and  I'll  mark  the 
words,"  stepping  to  the  board,  crayon  in  hand. 

The  child,  with  his  eyes  fixed  on  the  column  of  words, 
begins,  "The  old  fox  was  afraid  of  the  farmer's  gun." 

There  is  a  great  flying  of  hands  at  this,  but  the  teacher 
smilingly  shakes  her  finger  at  the  children  to  keep  them 
still,  and  the  boy,  with  a  surprised  glance  at  his  mates, 
resumes : 

"  And  his  son  had  a  dog  and  a  trap."  More  excitement 
in  the  class,  and  the  hands  are  fluttering  wildly,  but  tho 
teacher  motions  them  down,  and  nods  to  Walter,  who,  still 
wondering  what  the  matter  can  be,  goes  on : 

"  Then  the  fox  thought  he'd  make  a  new  house,  and  so  he 
did ;  and  he  had  three  rooms,  a  kitchen,  and  a  bedroom,  and 
a  parlor.  The  ducks  went  down  to  the  pond  to  swim,  and 
the  mother-duck  scolded  the  little  ducks  because  they  had 
web-feet,  and  the  fox  laughed  to  think  he  was  going  to  eat 
them  all  up." 

"That's  quite  a  long  story,"  is  the  teacher's  criticism. 
"Was  it  all  right,  Fritz?" 

"  No'm,  he  didn't  tell  us  it  was  his  son  who  had  the  gun." 

"And  you  didn't  tell  us  whose  son,"  gently  corrects  the 
teacher.  Fritz's  manner  is  less  self-satisfied  when  he  gives 
his  sentence  again,  "  The  farmer's  son  had  the  gun." 

"  Anything  else,  Mary?" 


LANGUAGE.— STORY  LESSONS.  237 

"I  think  it  was  the  farmer  who  had  the  dog  and  the 
trap." 

"I  think  so  too;  what  else,  Sadie?" 

"  He  didn't  say  anything  ahout  the  den  of  rocks  up  on  a 
high  hill,"  is  the  little  girl's  comment,  upon  whom  the 
unfamiliar  term  has  evidently  made  an  impression. 

"Josie." 

"  He  left  out  ahout  the  farmer  getting  up  in  the  morning 
and  letting  the  ducks,  and  hens,  and  chickens,  and  turkeys, 
and  geese  out  into  the  yard,"  said  the  earnest  little  woman. 

"So  he  did;  and  what  did  we  say  we  sometimes  called 
ducks,  and  chickens,  and  hens,  and  geese?  Eddie." 

"Poultry." 

"Now,  Josie,  can  you  think  how  you  can  make  your 
story  shorter?"  Apparently  she  does  not  understand, 
neither  do  the  majority  of  the  class,  who  look  at  one 
another,  as  if  they  wonder  what  the  teacher  is  talking 
about.  But  one  hand  is  upraised,  and  the  child  being 
called  upon  suggests, 

"Josie  might  have  said  poultry  instead  of  hens,  and 
chickens,  and  geese,  and  ducks." 

"  That's  nice,"  approves  the  teacher  cordially,  and  seeing 
Josie's  face  lighten  as  if  she  had  discovered  something,  the 
teacher  says,  "Suppose  you  tell  your  story  again." 

Accordingly  Josie  repeats:  "The  farmer  got  up  in  the 
morning,  and  went  to  the  hen-house,  and  let  his  poultry  out 
into  the  yard,"  giving  the  new  large  word  with  quite  a 
learned  air. 

"Donald,  what  have  you  to  tell  us?" 

"He  didn't  say  anything  about  the  papa-duck,  who  told 
the  baby-ducks  not  to  swim  too  far  away  in  the  cold 
water,"  observes  the  persistent  little  fellow,  whose  hand  has 
been  up  at  intervals  ever  since  Walter  sat  down. 

"I  don't  believe  he  did,"  agrees  the  teacher.  "Now  who 
is  ready  to  tell  me  some  stories  about  my  words  here?" 


238      THE   ' '  Q  UINC  Y  ME  THODS "   ILL  US  TRA  TED. 

pointing  to  the  column  which  has  by  this  time  a  cross 
opposite  nearly  every  word.  "Fannie,  you  may  begin." 

"I  saw  a  dog  down  by  the  pond." 

"There  go  two  straight  away,"  complains  the  teacher, 
drawing  a  line  through  them  as  she  speaks.  "  Ida." 

"The  son  had  a  gun  to  shoot  with." 

"There,  oh,  dear!"  in  a  tone  of  mock  sorrow,  as  she 
crosses  three  off.  "  Eobbie. " 

"The  trap  caught  a  hungry  fox." 

"Two  more!    Fritz." 

"I  saw  a  den  of  rocks  on  the  hill." 

"I  am  afraid  I  shall  not  have  words  enough  to  go 
round, "  observes  the  teacher.  l '  Jessie. " 

"The  tree  is  tall." 

"Yes.    Bennie." 

"One  of  our  rooms  is  the  kitchen,  and—"  adding  hastily, 
for  fear  she  would  call  upon  some  one  else  before  he  could 
say  it,  "  it  has  four  doors." 

"  I  shouldn't  wonder  if  it  had.    Helen. " 

"  In  the  morning  I  go  to  walk  in  the  yard." 

"  How  my  words  go !    Arthur." 

"  I  am  in  a  great  hurry  to  swim." 

"Is  that  so?    Patrick." 

"I  have  a  papa,  and  a  mamma,  and  a  baby." 

"Yes.    Ella." 

"  I  like  to  put  my  feet  in  the  water." 

"  And  that  is  all.  Let  us  see  now  how  well  we  can  write. 
Slates  and  pencils  ready ;  turn  I"  and  the  Farmer  and  the 
Fox  are  soon  forgotten  by  the  little  chirographers,  who 
become  completely  absorbed  in  trying  to  master  the  diffi- 
culties of  the  letter  m. 


LANGUAGE— STORY  LESSONS.  239 

THE  FIFTH  LESSON. 

GENERAL     EXERCISE. 

Two  days  after  Lesson  Fourth,  there  comes  a  pouring 
rain.  This  spoils  the  long  recess,  and  makes  time  drag  a 
little  as  the  morning  session  draws  to  a  close. 

So  after  the  usual  lessons  are  all  finished,  and  the  hour 
for  a  general  exercise  arrives,  the  teacher  calls  out  cheerily, 

"  If  I  could  see  a  room  full  of  nice  little  people  all  smiling 
at  me,  I  might  think  it  best  to  tell  them  the  rest  of  the  Fox 
Story." 

This  announcement  has  the  effect  of  a  burst  of  sunshine; 
all  the  faces  brighten  instantly,  but  the  teacher  is  not 
satisfied. 

"I  should  be  sure  to  do  it,  if  I  could  see  some  rows  of 
orderly — "  (every  small  man  and  woman  hitches  into  the 
middle  of  his  seat,  with  face  square  to  the  front  directly) 
"straight  children"  (each  child  lifts  his  figure  to  its  full 
height),  "with  hands  folded"  (every  hand  is  in  position) 
"and  eyes  looking  straight  into  mine"  (all  eyes  are  fixed 
upon  her  face).  After  an  instant's  smiling  contemplation  of 
her  attentive  audience  she  begins : 

"You  know  we  left  the  ducks  down  at  the  pond,  about 
to  go  in  to  swim.  The  papa-duck  had  just  put  one  foot 
into  the  water  when  there  came  a—"  writes;  "Sound," 
chorus  the  class ;  ' '  like  this — "  (the  teacher  makes  a  sort  of 
a  barking  noise). 

"  'What's  that?'  asked  the  papa-duck,  shaking  his  wet 
foot  at  the  baby-ducks  to  make  them  keep  quiet.  *  I  don't 
know,'  said  the  mamma-duck."  (The  teacher  barks  louder.) 

"  *  There  it  is  again;  let  us  go  and  see.'  So  they  called  to 
the  baby- ducks,  and  then  all  went  up  to  the  fox's  hole 
under  the  tree.  The  door  was  wide  open,  so  they  walked 


240      THE  "  QUINCY  METHODS"  ILLUSTRATED. 

in.  When  they  got  into  the  room  there  was  Mr.  Fox, 
and  he  made  them  a  very  polite—"  writes;  "Bow!"  call 
out  the  children;  uand  he  said — "  writes;  "Good -morning," 
read  the  class;  "'Mr.  Duck,'"  adds  the  teacher,  "'and 
good-morning,  Mrs.  Duck,  and  how  are  all  the—' "  writes ; 
"Little  ducks,"  is  the  chorus.  '  "  And  there  the  fox  had  the 
ducks  in  his  hole !  What  do  you  think  of  that?" 

"  They'd  ought  to  know  better,"  speaks  out  Bennie. 

"Perhaps  they  should  have  known  better,"  corrects  the 
teacher. 

"  I  think  it  was  too  bad !"  exclaims  Millie. 

"Is'posehe  eat 'em  right  up,"  remarks  Patrick  medita- 
tively. 

"What  should  Patrick  have  said,  Louise?" 

"I  suppose  he  ate  them,"  amends  that  proper  little  girl. 

"Yes.    Now,  Patrick,  suppose  you  try  again." 

"I  suppose  he  ate  them,"  repeats  the  boy,  imitating 
exactly  the  intonation  of  his  small  critic.  It  being  im- 
possible to  discover  from  his  perfectly  serious  countenance, 
whether  this  was  unconscious  or  intentional,  the  teacher 
concludes  to  ignore  it  altogether,  which  she  does  by  re- 
suming her  narrative. 

"Now  just  about  this  time  the  geese  thought  that  they 
would  go  down  to  the  pond  to  get  some  nice  grass;  and 
there  was  the  papa-goose  and  the  mamma-goose,  and  all  the 
little—"  writes;  "Goslings!"  chorus  the  children. 

1 '  After  they  had  walked  along  a  little  way,  they  thought 
they  heard  a  queer—"  writes;  "  Noise!"  say  the  class;  "  and 
they  stopped  to— "writes;  "  Listen  1"  pronounce  the  class; 
"and  they  could  hear  the  fox  going  'Yowl  yowl  yowl' 
and  all  the  ducks  going  'Quack!  quack!  quack  1'  'We 
must  go  and  see  about  that,'  said  the  papa -goose.  So  the 
mamma-goose  called  to  the  little  goslings  to  follow,  and 
they  too  all  went  up  to  the  fox's  hole." 

This  announcement  creates  quite  a  sensation,  one  tender- 


LANGUAGE.— STORY  LESSONS.  241 

hearted  little  girl  exclaiming  "Oh,  dear!"  as  the  teacher 
makes  it. 

"But  Mr.  Fox,"  resumes  the  narrator,  "  was  very  polite, 
and  bowed  to  them,  and  said,  '  Good-morning,  Mr.  Goose ; 
and  '  Good-morning,  Mrs.  Goose ;  and  how  are  all  the  little 
goslings  ?  Walk  in.'  So  they  went  in  and  sat  down  and 
began  to — "  writes;  "Talk! "  respond  the  chorus. 

"Very  soon  the  papa-hen  and  the  mamma-hen,  and  all  the 
little  chickens  who  were  out  looking  for — "  writes;  "  Bugs!" 
pronounce  the  children ;  ' '  heard  a  queer  noise, "  continues  the 
teacher.  "  Let's  run—"  writes;  " Home!"  call  the  children; 
"  says  the  mamma-hen,"  goes  on  the  narrator.  "  *  Don't  be 
a  coward,1  says  the  papa-hen.  What  is  a  coward,  chil- 
dren?" 

"  One  who's  afraid  at  nothing." 

"Anybody  that's  afraid  all  the  time." 

"Anybody  that's  afraid  when  there  isn'  anything  to  be 
afraid  of." 

"  I  should  think  so.  Now  when  the  papa-hen  said  '  don't 
be  a  coward,'  the  mamma-hen  said,  'What  shall  we  do?' 
'  Go  and  see,'  answered  the  papa-hen;  so  they  called  all  the 
little  chickens  and  down  they  went,  directly  into  the  fox's 
hole." 

"What  a  lot!"  exclaims  a  small  boy,  who  is  so  intensely 
interested  that  he  speaks  his  thought  unconsciously. 

"But  the  polite  old  fox  met  them  at  the  door,  and  he 
said  *  Good-morning,  Mr.  Hen ;  Good-morning,  Mrs.  Hen ; 
and  how  are  all  the  little  chickens  ?  Do  walk  in  and  take 
take  a  seat ;'  and  they  went  in  and  sat  down  and  began  to 
talk.  By  and  by  the  turkeys,  who  were  out  hunting — " 
writes;  "Grasshoppers,"  pronounce  the  children;  "hap- 
pened to  come  along  this  way.  There  was  the  papa-turkey, 
and  the  mamma-turkey,  and  all  the  little  turkeys,  and  they 
heard  this  curious  noise,  and  they  wondered  what  it  could 
be,  and  before  they  knew  where  they  were  going,  there 


242      THE  "Q UINC Y  METHODS"  ILLUSTRATED. 

they  were— inside  the  fox's  house.  Mr.  Fox  was  just  as 
polite  as  ever,  and  held  out  his — "  writing. 

"  Paw  to  shake  hands,"  read  the  children;  "  with  them," 
adds  the  teacher,  " saying  as  he  did  so,  'Good-morning, 
Mr.  Turkey;  Good- morning,  Mrs.  Turkey;  and  how  are  all 
the  little  turkeys?  Take  some  "—writes ;  "Seats!"  respond 
the  children ;  '  *  and  let  us  have  a  little  conversation. '  What 
is  conversation,  Julia  ?" 

"Talking." 

"Yes;  so  the  ducks  went  'Quack!  quack!  quack!'  and 
the  geese  went  'Cackle!  cackle!  cackle!'  and  Mr.  Hen 
went  '  Cocka-doodle-doo ! '  and  Mrs.  Hen  went  '  Cut-cut- 
cut-ca-dada ! '  and  the  little  chickens  went,  'Peep,  peep, 
peep ! '  and  the  turkeys  went  '  Gobble !  gobble !  gobble  I '  and 
the  old  fox  went  '  Yow !  yow !  yow ! '  and  just  think  what  a 
noise  they  made!" 

"Pretty  soon  the  sly  Mr.  Fox  slipped  out  the—"  writes; 
"Back-door,"  read  the  class;  "and  went  around  to  the — " 
writes;  "Front-door!"  call  out  the  children;  "and  put  a 
great  heavy—"  writes ;  "  Stone !"  chorus  the  listeners ;  "  up 
against  it,"  goes  on  the  narrator,  "so  that  they  couldn't 
get  out  if  they  wanted  to.  Then  he  came  in  at  the  back- 
door, and  locked  it,  and  put  the— "  writes;  "Key  in  his 
pocket,"  read  the  children  hurriedly.  Then  he  went  back 
into  the  company-room,  and  told  all  the  ducks  and  geese 
and  hens  and  turkeys  and  their  babies  that  he  hoped 
they  would  have  a — "  writing,  "  Good  visit!"  read  the  class; 
because  when  it  came — "  writes;  "Dinner-time!"  breath- 
lessly exclaim  the  children;  "he  should" — slowly  and  im- 
pressively—"  pick  out  some  of  them  to— eat." 

"  Oh  I  oh !"  sigh  the  children. 

"  Isn't  that  dreadful!"  cries  out  a  little  girl. 

"I  just  wish  I  had  a  gun  and  I'd  kill  that  fox!"  blusters 
an  excitable  youngster. 

"  I  guess  they  wished  they  were  home  then,"  says  a  little 


LANGUA  GE.—STOR  Y  LESSONS.  243 

fellow  who  has  evidently  experienced  that  desire  himself 
when  overtaken  by  trouble. 

"Oh,  don't  they  get  away,  teacher?"  calls  out  a  sympa- 
thetic little  woman  appealingly. 

"We  will  see.  When  the  old  fox  had  said  this,  he  went 
off  up — "  writes;  "  Stairs  to  bed!"  read  the  class;  "and  they 
did  feel  very  badly,  as  you  say,  and  began  to— "  writes; 
"Cry!"  is  the  responsive  chorus.  "Yes,  and  that  made  a 
great  noise,  and  the  farmer,  up  here  in  his  house—"  point- 
ing toward  the  sketch,— "heard  it,  and  came  to  the  door 
and  looked  out.  See  him!"  drawing  a  perpendicular  line 
in  the  doorway  to  represent  that  individual. 

"But  tha  noise  kept  on  and  even  grew  louder;  then  he 
said,  '  Thai  is  my  poultry  in  trouble  somewhere ;  I  must  go 
and  find  them.'  So  he  took  down  his  gun  and  called  his 
dog,  and  started  out.  He  went  to  the  yard,  but  there 
wasn't  a  duck,  nor  a  goose,  nor  a  hen,  nor  a  turkey  there ; 
then  he  went  to  the  pond,  but  they  weren't  to  be  seen 
there  either ;  and  then  the  noise  was  very  loud  and  seemed 
to  come  from  under  the  tree.  So  he  began  to  dig." 

"  But  just  then  he  happened  to  see  the  stone,"  continues 
the  teacher  more  rapidly,  for  the  excitement  is  getting  to 
be  intense,  and  most  of  the  children  are  half  out  of  their 
seats  in  their  eagerness  to  hear  the  denouement;  "and  he 
gave  it  a  great  pull, — and — out  came  all  his  ducks,  and 
hens,  and  turkeys,  and  geese,  and  all  their  babies !" 

The  little  ones  are  dancing  up  and  down  and  clapping 
their  hands  by  this  time,  so  the  teacher  waits  an  instant 
for  their  joy  to  subside,  then  continues  deliberately :  * '  Last 
of  all  came  old  Mr.  Fox,  to  see  what  was  happening  to  his 
house,  when  the  farmer  lifted  up  his  gun  and  shot  him — 
dead;  and  that  was  the  end." 


244      THE  ' '  Q  UINC  Y  ME  THODS ' '   ILL  USTRA  TED. 


Notes  and  Comments. 

To  the  superficial  or  ignorant  observer,  the  preceding 
would  seem  merely  an  entertaining  story,  told  to  amuse 
the  children.  To  the  enlightened  it  would  be  six  valuable 
lessons.  Three  in  Language  and  Reading,  combining  quick 
thinking,  rapid  reading,  close  attention,  and  most  excellent 
training  of  the  mind  to  see  promptly  and  vividly  the  pic- 
tures presented  through  the  avenues  of  sight  and  hearing. 
Three  in  recalling,  and  in  the  two  forms  of  Language  Teach- 
ing, viz.,  first,  and  most  important,  that  which  takes  up 
the  unconscious  side  of  the  work,  where  the  pupils  are  so 
under  the  control  of  the  thought  that  they  are  in  a  great 
measure  unaware  of  the  means  by  which  they  express  it; 
second,  the  conscious  side,  where  the  attention  is  divided 
between  the  ideas  in  their  relations,  and  the  words  and 
their  arrangement,  i.e.,  sentence-making. 

The  power  to  comprehend  the  motive  and  judge  the  ten- 
dency of  a  lesson,  is  as  much  a  matter  of  education  and  of 
growth  as  the  power  to  give  the  lesson  itself.  From  which 
it  may  logically  be  inferred  that  just  and  able  criticism  is 
quite  as  rare  as  skilful  and  intelligent  teaching. 


SECTION   FIFTH. 


I.  Preliminary. 
II.  Number  Work. 

III.  A  Lesson  in  Technical  Writings 

IV.  Two  Spelling  Lessons. 
V.  A  Drawing  Lesson. 

VI.  A  Lesson  in  Modelling  in  Clay. 
VII.  A  Singing  Lesson. 


Section  Fifth  contains  illustrations  of  the  teach- 
ing in  the  remaining  branches  of  work  taken  up 
during  the  First  Primary  Year. 


CHAPTER    I. 

PRELIMINARY. 

NUMBER. 

The  object  accomplished  by  the  work,  in  number,  of  this 
grade  is  mainly  the  training  in  the  power  of  attention. 
Aside  from  this,  the  children  are  expected  to  know  all  the 
facts  of  each  number,  to  ten,  perfectly.  This  means  that 
they  have  been  so  taught  these  facts,  that  the  recalling  is 
entirely  automatic,  and  that  whenever  any  combination  or 
separation  is  demanded  either  by  the  presentation  of  ob- 
jects or  by  means  of  language,  the  result  comes  instantly 
into  the  consciousness. 

The  teaching  is  always  objective,  and  the  two  lessons 
transcribed  in  this  Section  will  illustrate  the  manner  of 
presenting  a  new  number  and  the  means  used  to  render  in- 
teresting, one  with  which  the  pupils  are  already  familiar. 

That  little  children,  five  and  six  years  of  age,  should  be 
able  to  comprehend  the  four  fundamental  operations  of 
Arithmetic,  and  learn  to  use  them  with  such  facility  that 
they  will  go  from  one  to  another  without  the  slightest 
hesitation  or  the  least  trace  of  confusion,  seems  almost 
marvellous  to  those  who  were  ''brought  up"  on  "Mental 
Arithmetic."  Such  were  first  taught  the  addition  tables, 
then  those  in  subtraction;  afterward  the  multiplication 
tables,  and  last  the  division ;  the  learning  of  each  being  a 
dreaded  and  painful  proceeding.  Then,  having  survived 
this,  the  unhappy  pupils  of  such  teaching  knew  nothing 
of  the  principles,  or  even  the  processes;  and  were  indeed 


248       THE   "QUINCY  METHODS"  ILLUSTRATED. 

fortunate  if  they  possessed  sufficient  memory  to  enable 
them  to  dispense  with  the  counting  of  the  fingers  when 
any  calculation  was  called  for. 

Nor  are  the  points  mentioned,  the  only  ones  in  which  the 
new  way  of  teaching  is  an  improvement  upon  the  old,  for 
now  the  children  will,  if  properly  trained  and  carefully  let 
alone,  discover  all  the  facts  of  a  number  for  themselves, 
leaving  it  only  necessary  for  the  teacher  to  impart  the 
language. 

TECHNICAL    WRITING. 

One  of  the  first  lessons  given  in  the  Primary  schools  of 
Quincy  is  in  technical  writing — the  making  of  what  is  there 
commonly  referred  to  as  the  "  Parker  z." 

This  training  is  a  trifle  peculiar.  It  begins  with  the  care- 
ful making  of  this  one  letter— taken  as  the  foundation  form 
— and  continues,  with  two  lessons  a  day,  upon  this  letter, 
and  no  other,  until  each  child  can  make  it  perfectly,  when 
he  is  immediately  given  the  letter  next  in  order  *  without 
regard  to  the  progress  of  the  other  pupils  in  the  class. 

Seemingly  still  more  peculiar,  is  the  fact  that  the  children 
gain  instead  of  losing  interest  in  the  work,  as  the  weeks  go 
by.  One  secret  of  this  persistency  is,  that  being  led  to  dis- 
cover for  themselves  what  is  wrong  in  their  i's,  the  little  ones 
learn  to  study  the  letter,  and  soon  become  expert  critics, 
both  of  their  own  work  and  of  that  of  others. 

While  the  ideal  is  growing  slowly  in  the  mind,  the  skill  of 
hand  is  also  increasing,  and  the  pupils  are  gaining  steadily 
in  ability  to  reproduce  the  letter  correctly.  The  four,  six,  or 
even  nine  months  spent  in  acquiring  an  adequate  concept 
of  this  fundamental  form  and  the  power  to  make  it,  to- 
gether with  the  custom  of  doing  the  thing  better  every  time 
it  is  done,  is  proved  to  be  time  wisely  spent.  Knowing  how 
to  make  t,  means  knowing  how  to  make  five  sixths  of  all 

*  See  page  78  of  "  Notes  of  Talka  on  Teaching." 


PRELIMINARY.  249 

the  small  letters,  while  the  value  of  improvement  as  a  habit, 
cannot  be  estimated. 

Several  devices  are  used  to  aid  the  little  ones  in  their 
first  learning  to  write;  such  as  making  the  forms  of  the 
letters  in  the  air ;  tracing  the  letters,  and  writing  with  the 
teacher,  line  by  line ;  but  the  best  device  of  all,  and  unfor- 
tunately the  one  which  they  are  the  least  likely  to  have 
given  them,  is  a  teacher  whose  handwriting  can  be  taken 
for  a  model. 

SPELLING    OR    WRITING. 

As  in  after-life,  spelling  means — with  few  exceptions — the 
writing  of  words  and  sentences,  it  follows  that  teaching 
pupils  to  spell,  consists  in  training  them  in  the  reproduc- 
tion of  the  script  forms  of  words  and  sentences,  and  includes 
capitalization  and  punctuation. 

The  children  can  hardly  be  put  into  possession  of  this 
means  of  expression  too  early;  for  the  sooner  this  is  ac- 
complished the  sooner  writing  (or  spelling)  can  sink  into  the 
automatic,  leaving  the  pupils  free  to  expend  their  mental 
energy  upon  other  and  more  important  things.  Besides, 
being  mainly  a  matter  of  imitation,  and  in  a  great  degree 
mechanical,  the  training  may  be  commenced  the  first  day 
the  children  enter  school  and  completed  in  a  few  years. 

The  work  begins  with  the  careful  copying  of  the  first 
words  the  pupils  learn  to  read ;  and  this  being  one  of  the 
best  means  of  fixing  the  forms  of  words  in  the  mind,  it  be- 
comes thus  a  part  of  the  teaching  of  reading.  Indeed,  the 
two,  writing  (or  spelling)  and  reading,  cannot  be  separated, 
for  the  little  ones  write  only  what  they  have  read,  and  then 
read  what  they  have  written.  Then  too,  in  spelling  as  in 
reading,  the  sentence  should  be  reached  as  soon  as  possible, 
and  for  the  same  reason,  i.e.,  to  gain  the  stimulus  of  the 
thought. 

As  forms  impress  themselves  upon  the  mind  very  slowly, 


250      THE   "QUINCY  METHODS"   ILLUSTRATED. 

many  repetitions  being  required  to  fix  them,  the  first  year 
is  devoted  entirely  to  copying,  and  in  this  the  children  are 
trained  to  be  absolutely  accurate.  The  work  is  accom- 
plished in  two  ways.  First,  the  pupils  are  taught  in  regular 
lessons,  given  once  a  day  by  the  teacher.  Second,  they  re- 
ceive a  great  deal  of  training — in  the  form  of  copying  with- 
out assistance — done  as  Busy -Work.  As  it  requires  some 
skill  to  manage  paper  *  and  lead-pencil,  these  are  not  given 
to  the  children  until  the  very  last  of  the  year,  the  time  pre- 
vious to  this,  being  divided  about  equally  between  black- 
board and  slate  work. 

The  two  special  requisites  on  the  part  of  the  teacher  are 
skill  in  the  technic,  and  skill  in  training  little  children.  In 
other  words,  she  should  herself  be  able  to  write  beautifully 
on  the  blackboard,  and  possess  the  power  to  train  her  pupils 
in  the  habits  of  attention,  accuracy,  and  industiy. 

In  the  teaching  of  spelling  there  are  two  Medo-Persian 
laws  for  the  teacher.  First,  erase  all  wrong  forms  as 
promptly  as  possible.  Second,  never  allow  any  careless 
work. 

DRAWING. 

As,  in  the  course  of  the  first  year's  work  in  school,  the 
foundation  of  all  scientific  knowledge  is  laid ;  so  the  begin- 
ning of  art  education  is  also  made  during  the  primary  year. 
Indeed,  there  is  hardly  a  department  of  this  work  which  is 
not  taken  up  in  some  simple  elementary  fashion  in  this 
grade. 

The  illustrative  work — the  beginning  of  pictorial  art — is  a 
notable  feature  of  the  Primary  Schools  of  Quincy,  and  one 
in  which  the  pupils  take  the  greatest  delight.  This  is 
given  as  Busy-Work,  and  may  be  either  general  or  applied 
to  a  particular  study ;  for  instance,  to  the  solution  of  prob- 
lems in  Number.  Another  form  of  Busy- Work  belonging  to 

*  This  la  manilla  paper,  double-ruled  for  the  purpose. 


PRELIM  IN  A  RY.  2  5 1 

this  branch  is  the  making  of  designs  with  objects :  blocks, 
toothpicks,  bits  of  paper,  leaves,  beans,  etc.,  the  designs 
being  afterward  copied  upon  the  slates.  The  commence- 
ment of  copying  from  the  flat  is  also  made  at  this  time, 
the  children  being  occasionally  set  to  copy  the  teacher's 
drawings  of  such  objects  and  animals  as  are  most  com- 
monly introduced  by  the  little  ones  into  their  illustrative 
work.  The  pupils  are  trained  too,  to  draw  from  the  ob- 
jects themselves,  care  being  taken  to  call  upon  them  to 
draw  only  such  things  as  are  bounded  by  simple  lines. 

The  stated  lessons  in  the  technic  of  Drawing  are  given 
every  day,  and  last  from  ten  to  fifteen  minutes ;  but  these 
form  only  a  small  part  of  the  work  done  in  this  most  practi- 
cal of  studies  during  the  primary  year.  From  the  very 
first  the  children  are  constantly  being  given— either  on 
blackboard  or  slate — opportunities  for  this  second  means 
of  expression:  besides,  it  is  the  best  of  Busy- Work.  The 
love  of  creating,  and  the  desire  that  they  have  to  tell 
their  thoughts  in  this  graphic  way,  make  drawing  always 
a  delight  to  the  pupils ;  while  the  change  from  slate  and 
pencil  to  blackboard  and  crayon  suffices  in  the  way  of 
variety,  and  prevents  the  small  artists  from  becoming  tired. 
Yet  this  work  done  under  the  guise  of  play,  and  considered 
as  a  pleasure,  is  work  nevertheless,  and  accomplishes  certain 
results,  viz. :  first,  the  training  of  the  hand  in  execution 
and  of  the  eye  in  observation  ;  second,  skill  in  expression  ; 
and  third,  the  exercise  of  the  creative  faculty. 

Such  is  the  obvious  outcome  of  the  practice  of  leading 
little  children  to  draw  anything  and  everything  they  have 
ever  seen, 'before  they  are  old  enough  to  know  the  theory  or 
understand  the  principles  of  the  art.  Beginning  when  they 
are  still  in  the  unconscious  stage  of  growth,  while  the  criti- 
cal faculties  are  yet  undeveloped,  they  work  undaunted  by 
any  fear  of  criticism,  and  entirely  unhindered  by  doubts  as 
to  their  capacity  to  do  whatever  they  will.  The  conditions 


2$2      THE   "QUTNCY  METHODS"  ILLUSTRATED. 

most  favorable  to  success  being  tbus  secured  to  them,  they 
draw  with  a  strong  sincerity,  a  pure  realism  that  is  in  itself 
a  power ;  and  there  is  nothing  which  they  will  not  attempt 
without  the  slightest  hesitation,  from  the  drawing  of  a 
derrick  to  the  invention  of  a  design,  from  the  copying  of  a 
picture  to  the  illustration  of  a  song  or  story. 

If  the  welfare  of  the  children  in  after-life  were  the  only 
thing  to  be  considered,  it  is  quite  possible  that  this  very 
faith  in  themselves,  this  confidence  in  their  own  ability, 
might  prove  to  be  the  most  important  of  all  the  results  ob- 
tained. 

CONCRETE    EXPRESSION.— MODELLING    IN    CLAY. 

The  most  perfect  of  all  forms  of  expression  is  expression 
in  the  concrete,  and,  as  that  term  is  commonly  used,  it  is  the 
most  practical  also. 

When  to  these  two  considerations  is  added  a  third,  still 
more  significant,  viz. :  the  accepted  fact  that  little  children 
have  an  intense  desire  to  express  their  thought  in  things 
rather  than  words ;  that  they  love  to  do,  better  than  to  talk 
(unfortunately  a  preference  soon  outgrown),  it  would  seem 
to  be  something  of  a  mistake,  that  the  concrete  has  been  so 
utterly  ignored  in  the  scheme  of  common-school  educa- 
tion. 

It  is  only  since  the  introduction  of  the  Kindergarten  idea 
into  this  country  that  the  youngest  pupils  have  been  allowed 
to  do  anything  in  the  schoolroom,  but  dog-ear  books,  and  get 
into  mischief  ;  or  are  given  any  chance  to  express  their 
thoughts  except  in  words.  Even  now,  Primary  schools  in 
which  the  little  ones  are  afforded  frequent  opportunities  to 
build,  mould,  model,  or  make  in  any  fashion,  are  angelic  for 
rarity,  being  few  and  far  between. 

The  rising  clamor  for  Industrial  Education,  and  the  found- 
ing of  schools  for  Manual  Labor,  would  seem  to  indicate  -if 
"Coining  events  cast  their  shadows  before"— that  the 


PRELIM  IN  A  R  Y.  253 

pupils  of  the  future  shall  make,  instead  of  memorizing; 
shall  act,  as  well  as  talk ;  in  brief,  shall  be  taught  to  do. 

It  is,  after  all,  only  a  part  of  the  lesson  given  the  world 
long  ago  by  the  Great  Teacher.  When  it  shall  have  been 
learned,  the  children  of  men  will  do  away  with  ' '  vain  repeti- 
tions," shall  no  longer  think  to  be  heard  for  their  "much 
speaking,"  and  shall  be  trained  to  do  the  will  of  their 
Father  which  is  in  heaven. 

[The  lesson  in  "Clay  Modelling,"  photographed  in  this 
Section,  was  selected  more  for  the  moral  it  chanced  to  em- 
body, than  because  it  can  be  considered  a  type  of  what  such 
lessons  should  be.  Indeed  it  is  open  to  criticism,  because 
it  violates  the  law  of  unconscious  beginnings.] 


CHAPTER    II. 

A  FIRST  LESSON  IN  NUMBER. 

PURPOSE  OF  THE  LESSON.— First.  To  teach  the  use  of  the 
terms  more  and  less. 

Second.  To  teach  the  number  two. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Devising  how 
to  lead  the  children  to  use  the  two  new  terms  understand- 
ingly,  and  readily. 

Second.  Arranging  the  details  of  the  lesson. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  they  have 
learned  at  any  time,  and  in  any  way,  concerning  the  limita- 
tion of  objects  by  ones.  Also  all  the  ability  to  attend  to  the 
work  in  hand,  that  they  possess. 

PLAN  OF  THE  LESSON.— Begin  by  leading  the  children  to 
think  of,  and  then  to  say  more,  by  taking  an  indefinite 
number  of  blocks,  and  adding  more  blocks  to  the  pile  my- 
self and  having  them  do  the  same.  Then  by  taking  blocks 
from  the  pile,  teach  them  to  use  the  word  less.  Next  put 
back  in  the  drawer  all  of  the  blocks  but  five,  and  let  three 
pupils  each  take  away  one  block.  Have  the  class  tell  me 
how  many  remain.  Now  ask,  if  they  should  make  the  two 
less  one,  how  many  would  be  left?  Follow  this  expression 
of  the  idea,  by  the  phrase  itself,— two  less  one,  is  one,— and 
have  different  children  repeat  it  several  times.  Next  ask 
for  the  ones  in  two,  and  lead  the  class  to  see  that  two  ones 
aro  two.  After  they  have  gone  over  these,  till  they  are  in 
a  degree  familiar  with  the  processes,  show— two  less  two,— 
and  close  by  teaching  "in  two  are  two  ones." 


A   FIRST  LESSON  IN  NUMBER.  255 


THE  LESSON. 

The  teacher  stands  at  the  head  of  the  number  table,  with 
four  pupils  on  each  side,  and  two  at  the  end  opposite  her. 
She  gathers  ten  or  twelve  blocks  out  of  the  deep  drawer  at 
the  side  of  the  table,  and  puts  them  in  a  heap  at  the  head, 
the  children  helping. 

Then  she  points  to  the  blocks,  and  asks,  "What  have  I 
here?" 

"A  pile  of  blocks!"  is  the  chorus. 

"  Suppose  that  I  wanted  to  make  it  larger,  what  should  I 
do?" 

A  boy  answers,  "  You'd  have  to  put  more  on." 

"Very  well;"  taking  five  or  six  from  the  drawer,  and 
adding  them  to  the  pile.  ' '  Is  the  pile  as  large  as  it  was 
before?" 

Pupils  (together) :  "It's  larger." 

"Why,  Alice?" 

"  Because  you  put  on  some  more  blocks." 

"  Dannie,  you  may  put  on  the  pile  what  I  give  you;"  and 
the  teacher  hands  him  one  block.  He  lays  it  on  the  heap. 
"  Now  is  the  pile  as  large  as  before?" 

Children,  all  at  once:  "  Larger  1" 

"Who  made  it  larger?" 

"Dannie!" 

"How?" 

"He  put  on  one  more  block." 

"  Alice,  put  this  on,"  handing  her  a  block.  "Henry,  this 
one.— Ernest,  here's  one  for  you. — Lillie,  add  one. — Bridget 
take  one  and  put  it  on. — Edgar  put  on  one. — Madge  add 
hers. — Bertha,  here's  one  for  you  to  place  on  the  pile, — and 
Marcia,  you  may  put  one  on.  Now  Alice,  what  did  you 
do?" 

"I  put  on  one  more  block." 

"Ernest  tell  us  what  you  did?" 


256      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"I  put  on  one  more." 

"Lillie." 

"  I  put  on  one  more." 

"Bridget." 

"I  put  on  one  more." 

"  Children,  what  did  Edgar  do?" 

"  He  put  on  one  more." 

4 'And  Madge?" 

"  She  put  on  one  more." 

"Bertha." 

"She  put  on  one  more." 

"AndMarcia?" 

"She  put  on  one  more." 

By  this  time  the  heap  is  quite  a  sizable  one,  and  the 
teacher  asks,  "Is  the  pile  as  large  as  it  was  before?" 

Class  in  concert :  4 '  Larger !" 

Next  the  teacher  takes  a  handful  away — an  indefinite 
number — and  inquires,  "  Now  is  the  pile  as  large  as  it  was? 
Henry." 

"No,  it's  littler." 

"  Some  one  else  tell  me.    Marcia." 

"It  is  smaller." 

"  That's  better.    Edgar." 

"It  isn't  as  big." 

4 '  Why  isn't  it  as  large  ?    Lillie. " 

"You  took  some  away." 

"Yes,  I  took  some  away,  and  that  made  the  pile — 
children—" 

' « A  little  smaller !"    ' '  Not  so  big !" 

"  I  like  to  say  less.  Now,  Alice  may  take  off  one  block. 
Is  the  pile  as  large?" 

Pupils:  "No,  it  is  less  1" 

"How  much  less?" 

"One  less!" 

"  Dannie,  you  may  make  the  pile  one  less. — Bertha  make 


A   FIRST  LESSON  IN  NUMBER.  2$  7 

it  one  less. — Liliie  make  it  one  less. — Bridget  make  the  pile 
one  less. — Ernest  make  the  pile  one  less. — Madge  make  it 
one  less." 

The  teacher  puts  away  in  the  drawer,  all  the  blocks  but 
five.  "Now  my  pile  is  very  small,  and  Dannie  may  make 
it  one  less. — Henry  make  it  one  less. — Edgar  may  make  it 
one  less.— How  many  have  I  left  in  the  pile?" 

Children  (together) :  "Only  two." 

u  If  I  should  make  the  two  less  one,  how  many  should  I 
have  left?" 

Chorus:  "One!" 

"Who  would  like  to  take  the  blocks;  show  and  tell  me 
the  story— two  less  one,  is  one?  Madge." 

Madge  places  the  two  blocks  in  front  of  her,  on  the  table, 
then  picks  up  one,  holds  it  for  an  instant,  as  if  uncertain 
what  to  do  with  it,  for  the  drawer  is  on  the  other  side; 
finally  she  slips  the  hand  holding  the  block,  under  the 
table  out  of  sight,  and  says,  "  Two  less  one,  is  one." 

"Edgar  take  the  blocks  and  tell  the  story." 

Edgar  is  in  such  haste,  that  he  puts  one  block  under  the 
table,  the  first  thing,  and  rattles  off,  "  Two  less  one  is  one." 

"  I  don't  know  about  that,  I  didn't  see  any  two,"  remarks 
the  teacher. 

So  Edgar  places  both  blocks  on  the  table,  and  says,  look- 
ing at  them,  "Two—"  picking  up  one,  and  putting  it  un- 
der the  table — "less  one,  is — "looking  at  the  block  left — 
"one." 

"Very  well  done;  give  Alice  the  blocks,  and  we  will 
hear  her  story." 

Alice  goes  through  the  same  performance,  being  careful 
to  indicate  with  the  blocks  each  step  of  the  process. 
Bertha,  Ernest,  and  Marcia  are  successively  called  upon  to 
do  the  same  thing,  and  do  it  in  the  same  way,  except 
that  Marcia  puts  the  block  she  takes  away,  behind  her, 
instead  of  under  the  table. 


258       THE    "  QUINCY  METHODS"   ILLUSTRATED. 

Then  the  teacher  gives  each  child  two  blocks,  and  says, 
"  Show  me  one  block  in  your  right  hand. — Show  me  one  in 
your  left. — One  block  in  the  right  hand,  and  one  block  in 
the  left  hand.  How  many  ones  have  you?" 

Pupils  (all  at  once) :  ' '  Two  ones !" 

"  Put  them  side  by  side  closely,  just  as  if  they  had  grown 
together,  and  what  have  you  now?" 

"Two!" 

"  Two  what?" 

"  Two  blocks." 

"How  did  you  get  them,  Lillie?" 

"I  had  two  ones,  and  I  put  them  tight  together,  and  that 
made  two." 

" Bridget  show  me  two  ones."  Bridget  holds  up  a  block 
in  each  hand.  "Henry  show  me  two  blocks."  Henry 
holding  up  a  block  in  each  hand,  carelessly  brings  them 
together.  The  children  raise  their  hands  instantly. 
"What  is  the  trouble,  Alice?" 

"That  is  two  ones  he  is  showing  you." 

Henry  looks  surprised,  and  the  teacher  says,  "Madge 
show  him  two." 

Madge  puts  her  blocks  on  the  table  side  by  side,  places 
them  exactly  even,  then  grasping  them  tightly  in  one  hand, 
holds  them  up,  and  says,  "Two." 

"  Edgar  show  me  two. — Bertha  show  me  two  ones.— Lillie 
show  me  two  less  one,  is  one.— Ernest  show  me  two  ones.— 
Marcia  show  me  two." 

The  teacher  takes  a  box  of  horse-chestnuts  from  the 
drawer,  and  gives  two  to  each  member  of  the  class. 

"Dannie  show  two  less  one,  is  one. — Madge  show  me 
two."  The  little  girl  has  a  great  time  trying  to  hold  the 
slippery  things  close  together,  but  accomplishes  it  after 
several  trials,  and  holds  them  up  tightly  gripped,  in  her 
chubby  fist. 

"Bridget  show  me  two  ones.— Lillie,  two  less  one,  is  one.— 


A   FIRST  LESSON  IN  NUMBER.  259 

Henry,  two ;"  he  is  careful  to  get  his  objects  close  together 
this  time. 

The  teacher  holds  out  her  horse-chestnut  box,  and  the 
children  drop  into  it  their  two.  Then  she  says  briskly, 
"  How  many  blocks  have  I  now?" 

"  Two!"  is  the  chorus. 

"  If  I  make  two  less  two,"—  putting  the  two  blocks  011  the 
table,  and  then  putting  them  behind  her, — "how  many 
shall  I  have  left?" 

"Nothing!" 

"Alice,  show,  and  tell  me  the  story  of  two  less  two,  is 
nothing. — Bertha  the  same. — Marcia  show  me  two  blocks; 
now  take  them  apart,  and  tell  me  how  many  ones  you 
find." 

"Two." 

"Two  what?" 

"Two  ones." 

"Who  wants  to  show  me  that  story?— Ernest." 

The  boy  holds  up  his  two  blocks  clasped  together  in  one 
hand,  then  takes  them— one  in  each  hand,  and  says,  "Two, 
makes  two  ones." 

"Yes, "agrees  the  teacher.  "You  haven't  asked  me  to 
tell  a  story ;  would  you  like  to  have  me?" 

"  Yes'm !"  is  the  eager  response. 

She  places  her  blocks  evenly  side  by  side,  on  the  table, 
looks  at  them,  and  says,  "In  two  are" — separating  them 
deftly — "two  ones.  Who  else  wants  to  tell  the  story? 
Bridget." 

The  girl  imitates  perfectly,  both  phrase  and  action  of  the 
teacher. 

"Henry;" — he  does  the  same.  Then  Edgar,  Ernest,  and 
Madge  are  called  upon  to  tell  and  show  the  story. 

When  that  has  been  done,  the  teacher  says,  "You  may 
go  to  your  seats,  and  draw  a  picture  of  a  house,  for  me ; 
don't  forget  the  windows,  nor  the  chimney,  for  I  shall 


260      THE  "QUINCY  METHODS"   ILLUSTRATED. 

want  a  fire  some  of  these  cold  days.  Then  put  a  fence 
around  the  front  yard,  and  those  who  know  how,  may 
make  a  picture  of  a  bird-house  too.  I  think  that  would  be 
very  pretty." 

Notes  and  Comments. 

The  expert  leading  of  the  children  to  think  the  thought 
back  of  a  new  expression,  and  thus  teaching  the  expression 
itself,  is  the  first  point  worthy  of  note,  in  this  lesson  in 
number.  The  second  is,  that  while  the  New  Education  has 
no  place  in  its  scheme  of  work,  for  the  drudgery  of  the 
weary  drilling,  which  formed  so  large  a  part  of  the  old 
school  exercises,  still  by  means  of  repeated  impressions— 
repetitions  without  monotony— the  children  are  being 
taught,  and  all  the  time  being  taught  far  more  effectually, 
than  ever  before. 

ANOTHER  LESSON  IN  NUMBER. 

PURPOSE  OF  THE  L  ESSON.—  Principally,  to  train  the  children 
to  accurate  and  rapid  Number  Work.  Beside  this,  to  teach 
them  the  number  four, — its  separations,  and  combinations. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Deciding  upon 
the  arrangement  of  the  work,  i.e.:  what  the  pupils  shall 
do,  and  when  they  shall  do  it. 

Second.  Practicing  the  making  up  of  problems  and  the 
manipulation  of  the  blocks. 

Third.  Familiarizing  herself  anew  with  the  combinations 
and  separations  of  the  number. 

PREPARATION  MADE  BY  THE  PUPILS.— All  of  the  Number 
Work  they  have  done  previous  to  this  lesson,  and  all  their 
ability  to  see  and  think,  clearly  and  quickly. 

PLAN  OF  THE  LESSON.— Have  first  a  brief  review  exercise- 
not  over  a  minute  long— in  the  rapid  recognition  of  numbers 
from  one  to  five.  Next,  go  through  the  multiplications  and 


ANOTHER  LESSON  IN  NUMBER.  26 1 

divisions  in  four,  with  the  blocks,  myself,  and  have  the 
children  tell  what  has  been  done.  Then  let  them  take  the 
blocks  and  make  their  own  combinations.  After  this,  give 
the  pupils  five  or  six  problems  to  start  them  well,  and 
then  let  them  make  a  few.  If  now  the  class  seems  to  be 
ready  for  five,  close  the  lesson  by  sending  four  children  to 
stand  by  the  window,  and  having  the  class  tell  how  many 
are  there ;  then  send  another,  and  say  that  perhaps  we  will 
take  that  number  next  time.  Test  the  pupils  still  further 
in  four,  by  giving  them  illustrative  work  in  that  number, 
to  do  on  the  blackboard,  as  Busy- Work,  for  the  succeeding 
period. 

WHAT  THERE  IS  IN  4. 

In  4  there  are  four  1's.  Four  1's  are  4. 

In  4  there  are  two  2's.  Two  2's  are  4. 

In  4  there  is  one  3  and  1  over.  One  3  and  1  are  4. 

In  4  there  is  one  4.  One  4  is  4. 

1  +  1  +  1  +  1  =  4.  4-4  =  0. 

2+1  +  1  =  4.  4-3  =  1. 

3+1  =  4.  4-2  =  2. 

1+2  +  1=4.  4-1  =  3. 

1+1+2  =  4. 

2  +  2  =  4. 

1+3  =  4. 

THE  LESSON. 

The  teacher  and  children  are  gathered  around  the  num- 
ber table,  upon  which  is  a  variety  of  objects,  several  of 
each.  The  teacher  picks  up  a  couple  of  objects,  and  asks 
briskly, — 

"What  have  I  here?" 

Pupils:  " Two  balls." 

"  What  here?" 

"Four  horse-chestnuts* " 


262      THE   "QUlNCY  METHODS^  ILLUSTRATED. 

"What  now?" 

"Three  pencils." 

"And  now?" 

"Three  buttons." 

"How  many  ones?" 

"Three." 

"Show  me  as  many  fingers  as  I  show  you  beads."  The 
children  each  hold  up  four  fingers. 

"Touch  as  many  eyes  as  I  show  you  balls."  The  little 
ones  laugh  as  they  put  their  fingers  on  both  their  eyes. 

"  Hop  as  many  times  as  I  show  you  marbles."  They  hop 
once. 

"  Say  your  name  as  many  times  as  I  show  you  cards." 
Here  arises  quite  a  Babel  of  voices,  as  each  pupil  pro- 
nounces his  own  name  three  times. 

"Tell  me  what  I  have  in  my  hand;"  opening  it,  and  dis- 
closing a  button,  a  marble,  and  a  horse-chestnut. 

"Three  things." 

"  That's  nice!    How  many  now?"  adding  a  spool. 

"Four  things." 

"Right.     What  do  you  know  about  four;  anything?" 

"  Yes'm,  all  about  it,"  declares  the  class. 

"Do  you?  I  am  going  to  see."  The  teacher  takes  four 
blocks,  and  puts  them  on  the  table  side  by  side,  and  close 
together.  "I  shall  split  these  apart,  and  I  want  you  to 
watch  and  tell  me  how  many  ones  I  get. "  With  a  quick, 
dexterous  movement  to  right  and  left,  she  separates  the 
blocks,  and  leaves  them  standing  at  equal  distances  apart. 

After  a  glance  at  them,  the  children  chorus  "  Four." 

Sending  them  into  a  compact  row  with  a  sudden  push  of 
her  hands,  she  asks,  "  What  have  I  done?" 

"  Put  the  ones  together." 

"And  made-" 

"Four!" 


ANOTHER  LESSON  IN  NUMBER.  263 

"Alice  may  tell  the  story." 

"Four  ones  are  four." 

"Yes.  I  am  going  to  work  very  rapidly;  keep  your 
eyes  open,  and  see  if  you  can  tell  me  what  I  do,  as  soon  as 
I  do  it."  With  a  single  motion  of  each  hand,  the  teacher 
divides  the  row  of  blocks  in  two  groups.  "Dannie,  what 
did  I  show  you?" 

"There  are  two  twos  in  four." 

With  a  push  she  sends  the  blocks  all  together  again,  and 
calls,  "Henry?" 

"  Two  twos  are  four." 

Again  she  separates  them,  three  in  one  group,  and  one  in 
the  other.  "Ernest." 

"In  four  there  is  one  three,  and  one  over." 

She  shoves  them  together.     "  Edgar." 

"Three  and  one  are  four." 

Catching  up  all  four  as  they  stand,  she  holds  them  before 
the  class  and  says,  "  How  many,  Bertie?" 

"There  is  one  four  in  four." 

Still  holding  them,  the  teacher  announces,  "  You  may  all 
take,  so  many,  blocks." 

The  pupils  go  to  the  drawer,  and  help  themselves.  One 
very  short  boy,  coming  among  the  last  to  get  his  four,  finds 
that  the  nearest  having  been  taken,  there  is  only  one 
within  arm's  length.  Immediately  the  teacher  suggests,—- 

"If  you  see  a  little  boy  who  can't  reach,  you  might  be 
kind  to  him,  and  help  him." 

Forthwith,  every  child  in  the  class  makes  a  rush  for  the 
drawer,  and  the  little  fellow  has  his  arms  full  of  blocks, 
before  he  has  time  to  see  what  it  all  means. 

"That's  nice,"  comments  the  teacher,  smiling  at  their 
sudden  attack  of  helpfulness;  "but  he  doesn't  want  all 
there  are.  Now,  each  make  a  story  for  me." 

The  children  fall  busily  to  work  arranging  their  blocks, 
which  being  done,  with  a  last  look  at  the  grouping,  as  if  to 


264      THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US TRA  TED. 

be  sure  that  it  is  just  what  they  want,  they  raise  their 
hands,  to  signify  that  they  are  ready. 

"Bridget!"  calls  the  teacher. 

The  little  maid's  blocks  are  separated  evenly,  one  from 
the  other,  and  her  story  is,— "  One,  and  one,  and  one,  and 
one,  are  four;"  touching  each  block  as  she  says  "one,"  and 
then  pushing  them  together,  to  make  the  four. 

"That's  good.    Madge,  what  have  you  to  tell  us?" 

She  has  three  blocks  standing  together,  and  one  by  itself. 
Now,  sliding  the  three  and  one  into  a  single  group,  she 
says,  "  Three  and  one  are  four." 

"  Lillie,  your  story." 

Her  blocks  are  in  one  close  bunch,  which  she  picks  up, 
and  puts  behind  her,  saying,  as  she  does  so,  "Four  less 
four  are  nothing." 

"  Alice  show- us  what  she  thought  of." 

This  child  has  two  groups  of  blocks,  two  in  each;  of  these 
she  makes  one,  and  affirms,  "Two  and  two  are  four." 

"  Can  you  tell  rne  that  story  another  way?" 

"  Two  twos  are  four." 

"  Ernest,  what  have  you  to  say?" 

His  are  all  together,  and  he  now  takes  two,  puts  them 
under  the  table,  and  says,  "  Four  less  two  are  two." 

"  Bertha,  your  story." 

The  girl  takes  one  from  her  four  blocks,  which  stand 
close  together,  and  puts  it  out  of  sight,  and  declares,  "Four 
less  one  is  three." 

"  Edgar,  tell  what  you  have  done?" 

His  blocks  are  arranged  thus: — one  then  two,  then  one, 
and  he  points  to  each  in  turn  saying,  "One  and  two  and 
one  are — "  bringing  them  into  one  group — "four." 

"Move  your  blocks  as  I  asked  you  to  yesterday." 

The  child  puts  the  one  .i^ainst  the  two,  and  says, 
"  Three,"  then  shoves  the  three  up  to  the  last  one,  and  says, 
4 '  four." 


ANOTHER  LESSON  IN  NUMBER.  265 

' '  I'd  like  to  have  you  all  do  that  way,  whenever  you  put 
your  blocks  together."  * 

"  Marcia,  let  us  know  what  you  have  to  say?" 

The  child  has  her  four  in  one  group,  and  now  catches  up 
three,  puts  them  behind  her,  and  declares  glibly,  "Four 
less  three  is  one." 

" Dannie,  have  you  anything  new?" 

"  Yes'm."  Moving  his  blocks  as  he  speaks,  "  Two, — three, 
—four." 

"  Henry,  yours  is  like  some  others." 

"No'm."f 

"Tell  it  then." 

Henry— pushing  his  blocks  together  so  as  to  make  his 
words  true,  "  One,— two,— four." 

"Nice  children,"  approves  the  teacher;  "I  don't  know 
that  I  could  tell  any  better  stories  if  I  should  try,  so  I'll 
think  up  another  kind.  Hold  your  eyelids  down  and  listen. 
I  had  two  slate  pencils,  then  Madge  gave  me  one  yesterday, 
and  Henry  gave  me  one  to-day:  how  many  have  I  in 
all?" 

The  children  open  their  eyes,  and  fling  up  their  hands, 
the  instant  the  teacher  finishes  the  statement  of  her 
problem. 

"Marcia." 

"You  have  four  slate-pencils.7' 

"  Four  little  girls  went  to  Boston,  one  day,  and  two  little 
girls  went  home  again;  how  many  were  left  in  Boston? 
Bertha." 

"Two  little  girls." 


*This  is  a  way  of  dropping  out  the  objectionable  and,  for  when  the  children 
have  once  learned  all  the  combinations  in  a  number,  they  are  taught  to  name 
only  the  results. 

tThe  children  often  change  the  arrangement  of  their  blocks  during  this 
recitation,  if  the  "story"  they  have  selected  is  told,  in  order  to  get  a  new 
one. 


266      T 'HE    "QUINCY  METHODS'1   ILLUSTRATED. 

"I  had  three  good  stories  from  the  girls  of  my  number 
class,  and  one  good  story  from  the  boys;  how  many  good 
stories  did  I  have  from  all,  Henry?" 

"  Four  good  stories." 

"  Annie  gathered  four  roses  from  her  rose  tree,  and  gave 
three  of  them  to  a  poor  little  sick  girl ;  how  many  had  she 
left,  Lillie?" 

"  One  rose." 

"I  made  molasses  candy  the  other  day,  and  gave  my 
little  brother  four  sticks.  He  gave  one  stick  to  one  of  his 
playmates,  and  one  to  another;  how  many  did  he  have  left 
for  himself,  Bridget?" 

"  Two  sticks." 

" Hands  under  the  table!  Stand  up  straight!  Take  a 
long  deep  breath  through  the  nose ! — Now  another !— A  boy 
went  fishing;  for  a  longtime  he  didn't  get  even  a  nibble. 
Then  the  fish  began  to  bite,  and  he  caught  four,  but  the  last 
one  got  off  the  hook,  and  swam  away,  and  afterward  one 
slipped  through  a  hole  in  the  basket,  and  was  lost;  how 
many  fish  did  he  have  when  he  got  home?  Ernest." 

"Two." 

"How  many  cents  must  you  have  to  buy  two  two-cent 
apples?  Lillie." 

"  Four  cents." 

"  Good  girl !    Who  has  a  story  all  ready  to  tell?   Dannie." 

"Mr.  F.  had  three  horses,  and  he  bought  one  more;  how 
many  did  he  have  then?" 

The  children  raise  their  hands,  and  Dannie  calls  upon 
Edgar,  who  answers,  "  Four  horses." 

"Dannie  may  go  and  stand  by  the  window," decides  the 
teacher,  "and  Edgar  shall  give  us  the  next  story." 

"  I  bought  four  figs,  and  eat  them  all  up,  then  how  many 
figs  did  I  have  left?"  Looking  around  upon  the  upraised 
hands,  he  selects  Bertha,  who  says,  "  No  figs." 

"  You  meant  ate  them  all,"  criticises  the  teacher.     "You 


ANOTHER  LESSON  IN  NUMBER.  267 

may  go  and  stand  beside  Dannie,  and  Bertha  shall  be  the 
story-teller." 

"  I  had  one  white  kitty,"  said  the  little  girl,  "and  three 
black-and-white  kitties;  how  many  kitties  did  I  have?" 
She  looks  over  the  eager  group  gravely,  as  if  the  matter  of 
selection  was  a  serious  one,  and  finally  calls  upon  Alice. 

Alice:  "  Four  kitties." 

At  a  gesture  of  the  teacher  Bertha  joins  the  two  beside 
the  window,  and  Alice  puts  her  problem. 

"I  brought  my  teacher  three  white  roses,  and  one  red 
rose;  how  many  roses  did  I  give  my  teacher?"  Then  she 
chooses  Marcia,  who  says,  "Four  roses;"  and  Alice  takes 
her  place  beside  Bertha. 

"How  many  children  are  standing  by  the  window, 
class?" 

All  together:  "Four!" 

"Marcia,  you  may  go  over  there  too,  then  there  will 
be-" 

The  group  wait  till  she  gets  to  the  window,  and  then 
answer,  "Five!" 

"Wouldn't  it  be  nice,  if  your  new  lesson  to-morrow  was 
five?" 

Spirited  chorus :  '  *  Yes'm !" 

"Very  well,  I'll  talk  about  four  and  one,"  pausing  sig- 
nificantly, and  the  pupils  add  both  the  numbers  and  the 
word  she  waits  for — "Five."  "Now  you  may  go  to  the 
board,  and  each  of  you  make  me  a  picture  about  four, 
while  I  am  hearing  Tommy's  class  read." 

This  announcement  is  received  with  great  delight  by  the 
children,  who  are  never  happier  than  when  given  black- 
board space,  and  crayon,  and  left  "fancy  free,"  to  draw 
whatever  they  will. 

The  stories  illustrated  by  these  youthful  artists  are  here 
given,  together  with  a  few  specimens  of  their  work. 


268      THE   "QUINCY  METHODS"   ILLUSTRATED. 


no./. 


ANOTHER   LESSON  IN  NUMBER.  269 


2/0      THE    "QUINCY  METHODS"   ILLUSTRATED. 


10.3 


ANOTHER  LESSON  IN  NUMBER.  2JI 

THE  STORY-  ILLUSTRATED  BY  NOS.    1  AND  2. 

Mr.  W.  had  four  pieces  of  granite  in  his  stone  yard.  A 
man  came  with  a  team  and  took  two  pieces  away ;  how 
many  did  he  leave? 

THE  STORY— ILLUSTRATED  BY  NO.   3. 

A  man  had  four  cows  in  his  barn,  he  took  one  cow  out  to 
drink;  how  many  were  left  in  the  harn? 

THE  STORY — ILLUSTRATED  BY  NO.   4. 

There  were  four  pigs  in  a  pen,  and  two  jumped  out ;  how 
many  were  left? 

THE  STORY — ILLUSTRATED  BY  NO.    5. 

I  had  four  chickens  in  a  coop,  and  two  of  them  got  out ; 
how  many  were  left  in  the  coop? 

Notes  and  Comments. 

Mental  activity  is  as  much  a  necessity  and  a  delight  to 
children,  as  physical  activity,  and  teachers  should  possess 
the  art  to  guide  and  control  the  force,  that  is  constantly 
being  generated  in  their  pupils.  When  the  mass  of  edu- 
cators have  acquired  this  skill,  the  celerity  and  certainty  of 
mental  grasp  here  shown  by  little  children,  will  no  longer 
be  a  remarkable  thing,  neither  will  a  lesson  like  the  preced- 
ing,— combining  intense  intellectual  effort,  with  the  emotion 
of  pleasure,— be  any  more  a  matter  of  note  and  comment. 


CHAPTER    III. 

TECHNICAL   WRITING. 

PURPOSE  OF  THE  LESSON.—  Primarily.—  To  train  the  eye  to 
see,  and  the  hand  to  make  the  letter  i. 

Secondarily.— To  form  the  habit  of  working  carefully, 
neatly,  and  steadily. 

PREPARATION  MADE  BY  THE  TEACHER.— Direct.— Considerable 
practice  in  drawing  horizontal  lines,  and  in  making  the  let- 
ter i  on  the  blackboard. 

Indirect. — All  that  she  knows  of  the  letter,  herself,  which 
enables  her  to  detect  instantly,  the  most  faulty  letters  of 
each  slateful  of  i's;  and  all  her  experience  in  teaching 
writing,  which  gives  her  the  power  to  examine  rapidly,  and 
correctly. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  ability  they 
possess  to  see,  and  reproduce  form. 

PLAN  OF  THE  LESSON.— First.  Have  the  slates  cleaned. 

Second.  Have  the  class  take  the  proper  position. 

Third.  Have  the  children  draw  two  lines  and  write  i  in 
the  air,  three  times. 

Fourth.  Have  them  write  on  their  slates. 

Fifth.  Pass  up  and  down  the  aisles,  and  help  the  pupils. 

Sixth.  Examine  and  mark  the  slates. 

Seventh.  Have  the  children  show  their  marks. 

Eighth.  Have  the  girls  put  their  slates  down,  and  then 
have  the  boys  put  down  theirs. 

Ninth.  Give  the  class  a  few  gymnastic  exercises  to  rest 
them. 


TECHNICAL   WRITING.  2/3 


A    GENERAL    EXERCISE. 

It  is  five  minutes  of  two,  and  the  teacher  says,  "  Can  you 
think?" 

4 '  Yes'm !"  "  Yes'm !"  is  the  lusty  chorus. 

"Very  well;  let  me  see  you  look  as  if  you  were  ready  to 
think,  and  then  I  will  tell  you  what  to  think  about." 

A  general  straightening  process  ensues,  with  most  excel- 
lent results.  At  the  end,  the  teacher  commands, — "Think 
of  something  that  has — wheels. " 

All  the  children  are  eager  to  tell  what  they  have  in  mind, 
and  they  name  a  wagon,  a  cart,  a  wheelbarrow,  a  derrick, 
a  baby-carriage,  a  bicycle,  a  chaise,  a  tip  cart,  a  velocipede, 
an  engine ;  and  one  boy  shows  a  comprehensive  mind,  by 
declaring  that  ' '  A  mill  has  wheels. " 

"Yes:  tell,  me  what  has  feet." 

First  comes,  "  I  have  feet;"  then  "A  man  has  feet." 

"A  baby  has  feet." 

"A  dog  has  feet." 

"A  cat  has  feet." 

"A  rat  has  feet." 

"A  fox  has  feet." 

"A  cow  has  feet." 

"  A  horse  has  feet." 

"  A  donkey  has  feet." 

"A  sheep  has  feet." 

"  A  spider  has  feet." 

"A  goose  has  feet." 

"A  mosquito  has  feet." 

"A  bug  has  feet." 

"A  duck  has  feet." 

"  A  goose  has  feet." 

"I  want  something  that  I  haven't  heard  of  before.  I 
don't  like  the  same  thing  twice,"  comments  the  teacher. 

"A  hen  has  feet." 


274      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

"A  worm  has  feet." 

u  A  worm  hasn't  feet,"  contradicts  another. 

"Are  you  sure?"  inquires  the  teacher. 

"  I  don't  think  so,"  answers  the  hoy. 

"  Wouldn't  it  have  been  better,  and  more  polite  besides, 
to  have  said  that  at  first?" 

"Yes'm." 

"Suppose  you  tell  Bertha  so,  and  tell  it  as  a  gentleman 
would." 

The  child  thus  gently  reproved,  rises,  turns  toward  the 
little  girl,  who  said  "  a  worm  has  feet,"  and  repeats  mildly, 
"  I  don't  think  a  worm  has  feet." 

Fully  half  the  hands  go  up  at  this,  and  a  small  and  very 
eager  boy  speaks  out  impetuously, — "I've  seen  'em." 

"Horace  thinks  he  has  seen  them,"  looking  at  the  cor- 
rected pupil  as  she  pronounces  her  emphatic  "them." 
"  Children  I'd  like  to  have  you  tell  me  to-morrow,  whether 
worms  really  have  feet  or  not.  How  will  you  find  out?" 

"  Get  a  worm  and  look  at  it." 

"Yes.    Take  out  your  slates  and  slate-cloths." 

THE  WRITING    LESSON. 

The  training  girl  now  goes  briskly  up  and  down  the 
aisles,  with  a  bottle  of  water,  dropping  a  little  on  each  slate 
as  she  passes.  Then  follows  a  great  rubbing,  mainly  con- 
fined to  the  middle  of  the  slates. 

"How  about  the  corners?"  suggests  the  teacher.  "I  like 
clean  corners." 

The  little  washers  now  flourish  their  cloths  in  the 
Corners. 

"I  like  quiet  slates  too.  When  you  are  done,"  directs  the 
teacher,  "  put  your  hands  on  your  head,  and  then  I  shall 
know  that  your  slate  is  nice  and  clean;  that  is  just  like  tell- 
ing me  that  you  are  ready  for  something  else.  Almost 
everybody  is.  That  boy  isn't.  I  see  a  little  girl  who  knows 


TECHNICAL   WRITING.  2?$ 

what  to  do.  This  is  a  good  class  that  I  have !  Everybody 
with  hands  on  the  head,  and  everybody  with  a  nice  clean 
slate!" 

"Now,"  passing  down  the  aisle  at  the  extreme  right  of  the 
room,  "you  may  all  turn  and  face  me.  Put  two  feet  on 
the  floor,  lean  against  the  desk,  and  sit  as  tall  as  you  can. 
Everybody  put  up  the  hand  that  is  next  to  the  clock,  you 
know  what  that  is  called." 

Chorus :  "  The  right  hand !" 

"Yes;  hold  out  that  finger"— showing  her  forefinger— 
"toward  the  clock.  This  is  my  finger,  this  crayon,"  touch- 
ing it  as  she  speaks.  "  My  finger  is  whiter  than  yours.  I 
want  you  to  do  with  your  finger,  what  I  do  with  mine. "  She 
draws  a  line.  "What  is  that,  children?" 

"A  line  1" 

"  Do  again  with  your  finger,  what  I  do  with  mine.  What 
have  we  made  this  time?" 

"Aline!" 

"How  many  lines  have  we  drawn?" 

"Two!" 

"See  now,  what  I  do  with  my  crayon  finger.  I  begin  at 
the  bottom  line,  and  I  move  the  crayon  as  if  I  were  going 
to  move  it  up  to  the  picture,  and  when  I  get  to  the  top  line, 
I  draw  it  back  to  the  bottom,  and  move  it  up  again  to  the 
top  line,  then  I  make  this  dot.  See  if  you  can  do  it. 
First,  let  me  see  all  the  arms  straight,  and  pointing  toward 
the  clock.  Are  you  ready?" 

"Yes'm." 

"Very  well;  begin  at  the  bottom  line  with  me,*  and  go 
up  to  the  top  line ;  now  back  to  the  bottom  line,  and  now 
up  to  the  top  again.  All  make  the  dot,  here.  Let  us  make 
another.  Eeady !  Begin ;  all  go  up,  all  down,  all  up  again ; 
dot." 

*  The  children  write  in  the  air,  as  the  teacher  writes  on  the  bonrd. 


2/6      THE   "  QU1NCY  METHODS"   ILLUSTRATED. 

"Once  more.  Straight  arms;  point  toward  the  clock, 
and  everyone  work  with  me.  Begin !  up, — down, — up, — 
dot.  That's  good;  see  now  if  you  can  do  it  as  well  on  your 
slates.  I  think  you  can.  Be  sure  to  keep  between  the  two 
lines  and  make  nice  dots;  don't  put  great  balls  on  the  heads 
of  your  i's."* 

The  pupils  at  once,  set  to  work  busily,  and  the  teacher 
and  trainer  pass  around  among  the  little  writers,  examining, 
directing  and  assisting.  All  effort  is  praised,  no  matter  how 
crude  the  result,  while  no  careless  work  is  accepted.  If 
any  such  is  met  with  by  the  teacher,  her  wet  sponge  clears 
the  slate,  and  her  calm  reprimand,  "I  cannot  have  such 
work;  let  me  see  something  better  when  I  come  again," 
mortifies,  without  angering  the  child,  and  he  falls  to 
writing,  this  time  with  more  care  and  pains. 

Finding  in  the  course  of  her  rounds,  a  small  urchin  idly 
gazing  into  vacancy,  as  if  he  were  not  interested  in  the  writ- 
ing, she  picks  up  his  pencil,  and  says,  "Call  this  that  you  are 
going  to  make,  your  little  boy,  and  play  that  you  have  told 
him  he  is  to  stay  in  the  street, — see !"  slowly  making  the 
letter;  "he  goes  up,  and  down,  and  then  up  again,  but  he 
mustn't  go  over  this  fence  into  the  field,  must  he?" 

"No'm!" 

"  Here  is  a  little  bird  that  has  come  to  see  him,"  making 
the  dot. 

The  child  now  takes  his  pencil,  and  goes  eagerly  to  work, 
as  if  he  saw  something  attractive  in  the  making  of  the  let- 
ter i. 

To  a  girl  in  the  next  seat,  whose  rows  of  fa  are  irregular, 
the  teacher  says,  "Your  little  boys  are  not  good  soldiers; 
they  don't  stand  in  straight  lines,  do  they?" 

*  The  slates  are  all  ruled  on  one  side,  with  a  flle  or  some  other  sharp  instru- 
ment, the  spaces  being  three  eighths  of  an  inch,  and  the  sets  of  lines  one  inch 
apart.  This  spacing  is  for  beginners;  the  next  slate  will  have  the  spaces  only 
one  fourth  of  an  inch. 


TECHNICAL   WRITING. 

"No'm." 

" Let's  send  them  off"—  wiping  them  out, — "and  then  you 
shall  make  some  more  for  me,  to  march  one  just  behind 
the  other." 

Pausing  by  another  pupil,  who  sat  near  enough  to  have 
heard  the  talk,  the  teacher  says,  "  I  see  two  or  three  little 
boys  on  your  slate,  that  I  do  not  like,  because  they  have 
gone  over  the  fence;  we  can't  keep  such  naughty  children," 
— erasing  them,  "  and  there  are  some  crowding  each  other, 
send  them  away  too.  I  hope  you  will  have  a  slate  full  of 
good  boys  when  I  come  again." 

When  seven  of  the  ten  minutes  given  to  this  exercise  have 
expired,  the  teacher  commences  to  mark  the  slates.  Upon 
each  she  makes  some  comment,  often  mentioning  a  defect 
or  error  in  the  work,  but  never  finding  more  than  one  fault 
with  the  same  slate,  and  always  praising  a  little,  if  she  can 
possibly  do  so. 

To  each  of  the  most  careful  workers  she  says,  "You  have 
tried  so  hard,  that  I  must  make  a  little  picture  for  you, "  and 
sketches  swiftly,  with  her  crayon,  a  flag.  Upon  the  other 
slates,  she  makes  carefully,  yet  quickly  the  capital  O.* 

The  marking  is  for  effort  only,  and  not  for  performance, 
so  all  the  writers  get  some  kind  of  a  mark,  except  those  who 
have  smeared  slates.  These  she  refuses  absolutely  to  exam- 
ine, saying,  "I  cannot  look  at  any  slate  that  is  not  clean." 
Something  in  her  way  of  criticising  inspires  the  children  to 
work,  even  more  earnestly,  after  she  marks  their  slates, 
and  they  still  write  on,  till  the  teacher  having  finished  her 
examination  takes  her  place  in  front  and  says, — 

"Let  me  see  all  the  slates." 

The  pupils  raise  them,  with  both  hands,  high  over  their 

*  This  is  a  capital  letter  that  the  children  have  had  occasion  to  make  when 
copying,  and  this  opportunity  for  deepening  the  impression  of  its  form,  al- 
ready made,  is  taken  advantage  of,  by  the  sagacious  and  experienced  teacher 
who  gives  the  lesson. 


278      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

heads,  and  hold  them  there.  Two  only  out  of  the  seventy- 
eight  have  no  mark. 

"I  am  sorry  to  know  that  two  of  my  children  are  not 
neat,  is  the  teacher's  observation  regarding  this,  and  the  un- 
clean slates  are  slowly  and  sadly  lowered,  and  hidden  away 
inside  the  desks  of  their  uncomfortable  owners. 

"  I  am  going  to  let  the  little  girls  put  their  slates  down, 
and  the  little  boys  keep  theirs  up,  and  keep  their  ears  open, 
and  listen  if  they  can  hear  any  noise. — That  was  pretty 
well,"  as  the  small  women  lower  their  slates  carefully  to 
the  desks  and  only  one  knocks  the  corner. 

"  Now  the  boys  try  to  do  it  more  quietly."  The  little 
men  are  especially  anxious  to  accomplish  this,  and  do 
manage  it  by  great  effort. 

44 1  believe  it  was,"  decides  the  teacher.  "Now  when 
this  bell  strikes,  what  are  you  to  do?" 

44  Fold  the  hands !"  is  the  answering  chorus. 

"  Yes,  and  I  want  to  see  every  one  doing  it." 

When  all  are  in  place,  she  says  abruptly, — "The  smartest 
one  will  be  the  first  to— stand !" 

The  quick-witted  ones  are  on  their  feet  like  a  flash,  and 
the  slow  ones  follow  after. 

"  See  who  will  be  the  first  to—"  every  one  by  this  time  is 
listening,  intent,  alert ;  "sit !"  They  are  down  on  the  instant. 
"Who  will  be  the  last  to  put  the  hands  on — "  the  hands 
are  all  ready  to  be  placed;  "the  head."  The  arms  are 
framing  the  smiling  faces  almost  before  she  has  uttered  the 
final  word. 

"Hands  behind!"  is  the  next  command,  at  once  obeyed. 

"  Hands  in  the  lap!"  the  small  members  are  shifted  from 
back  to  front,  with  lightning-like  rapidity. 

"  Hands  folded !"  Then,  almost  before  they  have  caught  a 
breath,  the  teacher  trolls  out, 

"  'All  dressed  in  gray,  a  little  mouse, 
Has  made  her  home  within  my  house;1' 


TECHNICAL   WRITING. 

and  the  children  chime  in  merrily,  and  sing  till  they  are 
rested,  and  ready  for  the  next  bit  of  work,  their  wise  and 
skilful  teacher  shall  set  before  them. 

Notes  and  Comments. 

The  power  which  technical  training  gives  a  teacher,  can 
hardly  be  overvalued.  Take  this  matter  of  chirography 
alone.  Mark  the  grasp  of  the  subject,  which  the  teacher 
has,  and  observe  what  she  can  accomplish  by  its  means. 
Where  an  untrained  instructor  would  need  time  for  the  ex- 
amination of  the  slates,  and  then  find  the  work  requiring 
care  and  pains,  this  expert  detects  what  is  wrong,  at  a 
glance ;  sees  in  an  instant  the  difficulty,  and  knows  just 
how  to  set  about  correcting  it.  Nor  is  this  all.  Possessing 
not  only  the  knowledge  in  her  mind,  and  the  practised  eye, 
but  the  skilful  hand  as  well,  it  follows  that  her  pupils  must 
of  necessity  become  good  writers,  because  they  will  never 
have  any  but  correct  forms  set  before  them. 


OHAPTEE    IT. 

A  FIEST  LESSON  IN  SPELLING.— THE  WORD. 

Bordering  the  four  walls  of  the  schoolroom,  in  which 
this  lesson  is  given,  are  low-cut  blackboards,  coming  within 
a  little  over  two  feet  of  the  floor.  Running  the  whole 
length  of  one  of  the  long  sides  of  the  room,  these  boards 
are  divided,  by  red-painted  lines,  into  slates,  about  sixteen 
inches  wide  by  twenty  inches  high.  Across  the  top  of 
these,  are  two  blue  lines  for  the  name,  etc.,  and  at  regular 
intervals — perhaps  two  inches  apart — down  the  red  side- 
lines of  each  slate,  are  blue  beginnings  of  lines,  to  aid  the 
pupils  in  spacing,  when  they  draw  their  lines  for  writing. 

PURPOSE  OF  THE  LESSON.— To  teach  the  children  to  spell, 
i.e.  copy,  the  word  marble. 

PREPARATION  MADE  BY  THE  TEACHER.—  Thinking  out  the  de- 
vice, and  practising  the  writing  of  the  word,  between  lines. 

PREPARATION  MADE  BY  THE  PUPILS.—  Their  ability  to  repro- 
duce forms,  and  their  skill  in  handling  the  crayon. 

PLAN  OF  THE  LESSON.  —  Play  that  the  crayon  is  a  little 
boy,  running  around  in  a  narrow  yard — the  space  between 
the  lines— and  then  tell  the  story  of  his  wanderings,  with 
tongue  and  crayon,  having  the  children  follow  every  move. 

M EM.  —Watch  carefully  to  see  that  they  keep  together,  as 
we  go  on,  and  that  each  pupil  forms  the  letters  properly. 

THE  LESSON. 

The  children  have  just  come  in  from  recess,  and  the 
teacher  standing  in  front  of  the  playful  little  people,  an- 
nounces quietly,— 


A   FIRST  LESSON  IN  SPELLING.— THE   WORD.      28 1 

"I  don't  know  what  I  shall  say  to  the  last  one,  but  I  do 
know  what  I  shall  say  to  those  who  fold  their  hands  first." 

Every  one  present  seems  to  consider  this  remark  as  per- 
sonal, and  all  the  hands  are  folded  in  short  order;  where- 
upon the  teacher  smiling  down  at  them,  continues, — 

"I  shall  say  that  they  are  my  very  best  children,  and 
that  I  cannot  help  loving  them,  when  they  are  so  good. 
Now  I'd  like  something ;  let  me  see  who  will  be  ready  to 
give  it  to  me  first:  a  sentence,  with  this  word  in  it,— what. 
Willie." 

"  What  is  the  little  boy  doing?" 

"Good!  tell  me  something  about^— where;— Nellie." 

"Where  are  the  birds?" 

"Yes.    I'd  like  a  sentence  with  this  in  it, — have.    Celia." 

"Have  you  a  hat?" 

"To  be  sure.  Here  is  something  harder;  tell  me  a  story 
about,— that,  and  let  this  word  come  with  it,"  writing  on 
the  board,  girl;  "Walter." 

"  That  is  a  large  girl." 

"That  is  a  smart  boy,"  comments  the  teacher.  "Some 
one  tell  me  something  that  can 'do  this,— writing  the  word, 
jump.  "Susie." 

"  Children  can  jump." 

"Yes,— Fred." 

"  A  horse  can  jump." 

"Something  now  that  can," — writing,  hop.     "  Lula." 

"Girls  can  hop." 

* '  I  think  they  can.    Neddy. " 

"  A  hoppergrass  can  hop. " 

The  class  laugh,  and  the  teacher  says,  "What  does  he 
mean,  children?" 

"A  grasshopper  can  hop !" 

"That's  better.  Why  can  a  grasshopper  hop?" — abruptly 
turning  to  the  board  and  sketching — almost  in  the  twink- 
ling of  an  eye — the  insect  under  discussion,  saying  as  she 


282       THE   "QUINCY  METHODS"   ILLUSTRATED. 

does  so,  "  Here  is  his  head,— I'll  put  in  his  eyes;  here  is  his 
body,  and  now  I  am  drawing  his  jacket  or  coat, — and  here 
are  his—" 

"  Legs!"  chorus  the  lookers  on. 

"  Now,  who  can  tell  me  why  he  can  hop?    Arthur." 

"  I  think  it's  because  he's  got  such  long  legs." 

"You  mean  because  he  has  long  legs.  What  do  you  say, 
Bertie?" 

"  I  think  so  too." 

"Do  you  suppose  that  you  could  hop  as  well  as  he  does, 
if  your  legs  were  long,  too?" 

"Yes'm!"     "Yes'm!" 

"  Well,  perhaps;  I  am  going  to  ask  those  who  sit  up  very 
straight,  to  tell  me  what  I  am  doing  now."  She  sketches 
rapidly,  beginning  at  the  lower  part,  for  the  purpose  of 
puzzling  the  little  watchers,  but  in  a  moment  they  call 
out,— 

1 '  A  rocking-chair !" 

"Now  what?"  and  she  draws  again. 

"  A  bird-cage !"  is  the  eager  cry. 

"Yes,— Now." 

Before  anything  but  the  spout  is  finished,  the  children 
shout,—"  A  pump !"  "A  pump !" 

"Oh,  I  can't  do  anything  with  you,"  is  the  teacher's 
laughing  declaration.  "  You  know  too  much  1  I  am  going 
to  put  you  to  work.  The  babies  pass  to  the  block-table, 
and  build  anything  they  like,  but  they  must  be  kind  to  each 
other,  and  very  still.  The  second  row,  sort  the  colored 
strips  of  paper  that  Miss  D."  (the  trainer)  "will  give  them; 
put  all  of  the  same  color  together,  and  let  me  see  whose 
papers  will  look  the  most  orderly.  The  third  row  may  go 
to  the  front  blackboard,  and  trace  the  words  they  find 
there ;  I'd  like  to  have  the  fourth  row  draw  a  railroad  train 
of  three  cars,  and  an  engine;  and  the  fifth  group  come  with 
me  to  the  blackboard  slates." 


A   FIRST  LESSON  IN  SPELLING.— THE   WORD.      283 

Arrived  there,  the  pupils  arrange  themselves,  each  oppo- 
site a  slate,  with  their  backs  to  the  board. 

"  Face !"  calls  out  the  teacher,  and  they  turn.  ' 4  Take  the 
crayon !"  Each  picks  up  his  crayon,  and  stands  ready  to 
perform  the  next  command,  which  is,  "Place  it  on  the 
upper  blue  mark  at  the  left,  look  at  the  upper  blue  mark  at 
the  right,  and  draw !"  The  teacher  having  taken  her  posi- 
tion about  midway  of  the  board,  draws  her  line  higher  up, 
and  works  with  the  children  as  she  dictates. 

The  line  is  made,  not  quite  straight,  nor  perfectly  hori- 
zontal, but  still,  well  done  for  such  young  drawers. 

"  Place  the  crayon  on  the  second  blue  mark  at  the  left  of 
your  slate,"  says  the  teacher,  after  an  instant's  pause  to 
allow  each  to  inspect  his  work,  "look  at  the  second  blue 
mark  at  the  right,— draw!"  the  second  line  is  made,  and 
they  are  ready  to  write. 

"  Let  us  each  play  that  our  crayon  is  a  little  boy  who  has 
come  out  to  take  a  run  in  this" — indicating  the  space  be- 
tween the  lines — "long  narrow  yard;  let  us  see  what  he 
will  do.  First,  he  starts  just  here,  at  the  lower  side"— put- 
ting her  crayon  on  the  bottom  line,  near  the  left  edge,  and 
waiting  until  all  of  the  children  have  done  the  same, — "and 
walks  up  to  the  fence,"— moving  her  crayon  upward— the 
pupils  watching  closely,  and  imitating  her  movement  to  the 
best  of  their  ability,  "then  turns  around,  and  walks  to  the 
lower  side  of  the  yard,  and  touches  the  fence" — making 
thus  the  first  turn  of  ra — "then  he  walks  back  to  the  upper 
fence,  turns  around  just  as  he  did  before,  and  goes  to  the 
lower  fence,  walks  back  again  to  the  upper  fence,  turns 
around  once  more,  and  comes  to  the  lower  one  and 
turns. 

"Next  he  starts  and  runs  along  this  way" — making  the 
first  line  of  the  a — "then  he  walks  back  in  just  the  same 
path  he  came,  for  a  little,  until  he  gets  in  a  hurry,  when  he 
runs  toward  the  lower  fence,  then  around  this  way  to  the 


284      THE    "QUINCY  METHODS"   ILLUSTRATED. 

upper  fence,  and  walks  back  to  the  lower  edge  of  the  yard," 
— the  a  is  made. 

1  'Now  he  starts  again  to  run,  and  he  runs  up  so  fast  that 
he  gets  out  of  the  yard,  so  he  has  to  climb  over  the  fence  to 
get  in  again.  Harry,  your  boy  went  too  far  away.  Just 
here,  we  will  play  that  he  sees  a  squirrel  scampering  along 
on  the  lower  fence,  and  he  jumps  down  and  runs  after  the 
squirrel ;  but  when  he  gets  here" — at  the  lower  line,  com- 
pleting the  letter  r — "that  cunning  little  animal  was  up  at 
the  top  of  a  tree ! 

"So  up  the  boy  goes  after  it,  and  now  comes  a  great 
chase, — down  on  the  other  side  of  the  tree,  across  the  yard 
and  back  again  up  on  the  fence,  to  get  to  the  next  tree  [b], 
and  up  that,  and  down  the  other  side  of  it,  over  to  the 
lower  fence  [1],  and  back  to  the  upper.  Edith,  your  little 
boy  hasn't  gono  far  enough.  Then  the  squirrel  turned 
around  and  ran  with  the  boy  after  it,  back  to  the  lower 
fence,  and  just  as  the  boy  was  going  to  put  his  hand  upon 
it  the  squirrel  ran  into  a  hole  in  the  ground,  up  here," 
—touching  the  top  line,  [e.]  "Now  when  this  little  boy 
came  to  look  back  upon  the  tracks  he  had  left,  he  found  that 
they  made  a  word ;  what  word,  children?" 

"Marble!" 

"I  think  that  was  it.  Wasn't  that  odd?  All  place  the 
crayon  again,— draw!  place  again, — draw!  Now  I  want 
you  to  keep  on  taking  that  boy  out  to  chase  that  squirrel, 
till  I  am  ready  to  hear  you  read.  Be  very  careful  about 
where  he  goes,  and  see  that  he  does  the  same  things  he  did 
before,  every  time,  and  when  he  gets  to  the  fence  be  sure 
that  he  touches  it.  Pretty  soon  I'll  come  to  see  how  his 
tracks  look." 

Notes  and  Comments. 

Mark  the  wisdom  of  this  teacher,  in  thus  leading  the  little 
ones,  by  a  bit  of  childlike  imagining,  to  take  pleasure  in 


ANOTHER   SPELLING  LESSON.— THE  SENTENCE.    28$ 

their  first  copying  of  words,  and  to  work  away  gladly,  and 
untiringly,  at  what  would  otherwise  be  a  wearisome  task. 

Concerted  action,  under  the  watchful  eye  of  an  expert, 
has  great  advantages  in  the  way  of  economy  on  the  part  of 
the  teacher,  and  in  the  matter  of  enthusiasm  on  the  part 
of  the  pupils.  But  if  the  interest  of  the  children  is  not 
entirely  enlisted  in  the  work  being  done,  concerted  action 
becomes  a  most  potent  means  of  training  in  carelessness 
and  inattention. 

ANOTHER  LESSON  IN  SPELLING. —THE  SEN- 
TENCE. 

PURPOSE  OF  THE  LESSON.— To  teach  the  children  to  spell 
— i.e.,  copy— the  sentence, — "Whose  cat  have  you?" 

PREPARATION  MADE  BY  THE  TEACHER. 

General— First.  All  the  ability  she  herself  had  gained  to 

reproduce  form; — in  this  case, — to  write. 
Second.  All  the  power  she  possessed  to   train 
others,  to  reproduce  form. 

Special. — Writing  on  the  blackboard  the  sentence  to  be 
copied. 

PREPARATION  MADE  BY  THE  PUPILS.— All  the  training  they 
have  hitherto  received  in  copying,  and  in  the  habits  of  at- 
tention, accuracy,  and  perseverance. 

PLAN  OF  THE  LESSON. —First.  Have  the  children  write  in 
the  air,  all  the  new  words,  and  any  others  in  the  sentence 
which  are  not  well  known. 

Second.  Have  them  copy  the  sentence  on  their  slates. 

Third.  Examine  their  slates,  underline  the  most  poorly 
written  words,  and  erase  any  that  are  misspelled. 

Fourth.  Mark  the  slates  for  effort. 

THE   LESSON. 

The  afternoon  session  is  about  to  begin.     On  the  black- 


286      THE   "QUINCY  METHODS"   ILLUSTRATED. 

board  at  the  right  side  of  the  room,  beautifully  written— at 
noontime— between  lines,  is  the  sentence,— "  Whose  cat 
have  you?" 

When  the  gong  strikes,  the  teacher  says,  "  Take  out  your 
slates."  Then  the  trainer  passes  around  with  the  water  for 
cleaning  them.  As  soon  as  she  has  supplied  one  row,  the 
teacher  begins,  and  the  cliildren  join  in  and  sing, — 

"  This  is  the  way  we  rub  our  slates, 
Rub  our  slates,  rub  our  slates; 
This  is  the  way  we  rub  our  slates, 
To  make  them  nice  and  clean;" 

moving  their  slate-cloths  in  concert  with  the  music. 

When  it  is  time  for  all  to  have  finished,  the  teacher  takes 
her  stand  at  the  writing  blackboard,  and  as  the  singers  reach 
the  end  of  the  stanza,  she  says, — 

"  Who  is  the  first  one  to  put  his  hands — on  the  crown  of 
his  head?" 

Slates  are  hastily  laid  down,  cloths  tucked  into  the  desks, 
and  the  busy  little  hands  placed  high  out  of  mischief,  while 
the  teacher  mentally  notes  her  slow  or  inattentive  pupils. 

"I  think  I  should  not  like  to  be  always  behind  the 
others  in  doing  anything.  Such  little  folks  do  not  grow 
up  to  be  smart  men  and  women,"  is  her  next  observation, 
levelled  at  the  aforesaid  few.  Each  unready  child  colors, 
and  hastens  to  imitate  the  rest  of  the  class. 

"All  show  me  both  hands."  They  are  flung  up  instantly. 
"Both  hands  in  your  lap."  They  drop  promptly  into  the 
designated  place.  "Face!  Look  at  the  sentence!"  is  the 
next  demand.  "  Who  will  read  it  to  mo?"  The  hands  are 
all  up.  "  Charley." 

He  reads  indifferently,— "  Whose  cat  have  you?" 

"  I  think  some  one  can  read  it  hotter  than  that,-  -John." 

"Whose  cat  have  you?"  inquiringly. 

"  Very  well;  now  we  will  write  it  in  the  air.     Raise  your 


ANOTHER   SPELLING  LESSON.— THE   SENTENCE.    287 

right  hand,  point  with  the  first  finger,  and  we  will  begin- 
where?" 

Class  in  concert:  "At  the  left-hand  side  of  the  black- 
board, on  the  bottom  line." 

The  teacher  here  puts  her  right  forefinger  within  an  inch 
of  the  beginning  of  the  first  letter,  on  the  board,  and  the 
pupils  all  point  toward  the  same  spot. 

"Up!"  directs  the  teacher,  moving  her  finger  over  the 
first  curve  of  the  W. 

"Above  the  line,"  adds  one  of  the  children,  meaning  the 
line  for  the  small  letters. 

"Around,"  says  the  teacher,  and  all  the  hands  move  on 
together  in  the  air,  while  she  continues,  "down  to  the 
bottom  line— up  again,  as  high  as  before,— down  to  the 
bottom, — up,  not  as  high  as  the  other  lines.  Now  we  take 
our  fingers  off,  to  be  ready  for  the  next  letter." 

"Begin  at  the  bottom  line,  close  to  the  last  we  made,  go 
away  up  high, — turn  to  the  left, — come  down  to  the  bottom 
line, — go  up  to  the  top  line,— down  to  the  bottom  line, 
—up  to  the  top  line,— now  around  and  make  an  egg  with 
one  end  on  the  top  line  and  one  on  the  bottom  line, — 
out  to  the  right,  up  a  little  above  the  line,  back  with  a 
curve  around  toward  the  left  touching  the  bottom  line, — 
back  again  in  the  same  line  a  little  way,  then  up  to  the  top 
line,  turn  to  the  left,  around  down  to  the  bottom,  up  to  the 
top.  What  have  we  written?"  inquires  the  teacher. 

Chorus:  "Whose!" 

"What  is  the  next  word?" 

"  Cat!  we  know  how  to  write  that." 

"  I  think  you  do,"  assents  the  teacher;  "what  next?" 

"  Have;  we  know  that,  too." 

"Then  what  comes?" 

"  You,"  pronounce  the  pupils. 

"  We  haven't  had  that  many  times,"  asserts  the  teacher, 
"  so  we  will  write  it  with  our  fingers.  Tell  me  where  to  be- 
gin." 


288       THE    "  QUINCY  METHODS"   ILLUSTRATED. 

Children  in  concert:  "  Begin  011  the  bottom  line." 

"  A.11  point  your  fingers  there,"  directs  the  teacher,  "  and 
we  will  start  together.  Ready!  Up, — down,  —  up,— down, 
— away  below  the  bottom  line, — turn  to  the  left, — come 
back  and  cross  on  the  bottom  line, — up  to  the  top  line, — 
around— and  make  an  egg  with  one  end  on  the  top  line  and 
one  on  the  bottom, — now  we  go  out  a  little  way, — down, — 
up, — down  and  up.  Then  what  do  we  put  here?"  pointing 
to  the  sign  of  interrogation. 

"  A  question  mark,"  declares  the  class. 

"  Yes;  take  your  pencils  and  write." 

Evidently  the  little  ones  are  foui  of  this  exercise,  for 
they  catch  up  their  pencils  and  go  to  work,  as  if  to  copy 
were  play,  and  play  in  which  they  took  the  greatest  delight. 

While  the  pupils  are  copying,  the  teacher  spends  her  time 
in  walking  up  and  down  the  aisles,  examining,  and  criticis- 
ing the  work.  She  inspects  each  slate  at  a  glance,  and 
draws  a  line  under  the  most  poorly  written  word.  The 
child  immediately  erases  this,  and  rewrites  it  more  care- 
fully. 

Her  criticisms  are  peculiar  in  some  respects.  First,  she 
never  calls  attention  to  a  mistake, — lest  an  impression  of 
the  wrong  form  should  be  made,— and  second,  a  few  of  her 
most  effective  comments  are  made  with  her  sponge.  Occa- 
sionally she  says,  "I  think  you  didn't  try  very  hard  just 
then;"  or— "Here  is  a  beautifully  written  word,  but  I  don't 
like  that  one  as  well;"  or— "How  much  better  you  write  to- 
day than  yesterday,  but  you  need  to  tip  (slant)  those  lines 
over  a  little  more  to  the  right ;"  and  once,  finding  a  slate 
with  careless  work  upon  it,  she  wastes  neither  word  nor 
look,  but  oweeps  her  wet  sponge  across  the  whole,  and 
passes  on  to  the  next,  leaving  the  offender  more  humiliated 
by  this  swift,  passionless  punishment,  than  he  would  have 
been  by  half  an  hour's  angry  scolding. 

When  she  finds  that  they  have  failed  to  copy  accurately, 


ANOTPIER   SPELLING  LESSON.— THE   SENTENCE.    289 

in  other  words,  when  they  have  misspelled,  she  quickly 
wipes  out  the  wrong  form  with  her  sponge,  and  remarks, 
"  You  didn't  see  right  that  time,  put  on  your  spectacles  and 
look  again." 

Occasionally  a  pupil  seems  to  find  it  difficult  to  write  well 
with  the  copy  so  far  away,  and  for  him,  she  places  the  sen- 
tence on  his  slate. 

All  this  critical  work  is  done  with  a  celerity  and  cer- 
tainty, which  only  years  of  training  and  experience  could 
give ;  but  perhaps  the  most  remarkable  thing  of  all,  is  the 
fact  that  this  teacher  knows  just  the  work  that  each  child 
has  previously  done,  and  hence  is  able  to  judge  as  to  the  im- 
provement made  at  every  lesson,  and  the  effort  put  forth 
by  each  pupil. 

This  day  at  the  close  of  the  lesson  she  walks  up  the  aisles, 
gives  one  swift  glance  at  each  slate  in  passing,  and  makes 
with  her  crayon,  either  one,  two,  or  three  short  perpendicu- 
lar marks.  What  this  means  the  writers  do  not  know, 
until  after  they  have  held  their  slates  up  high  to  be  looked 
at.  Then  she  announces,  "  All  those  who  have  three  marks 
on  their  slates,  tried  the  hardest,  and  they  are  my  best  chil- 
dren. Put  the  slates  down  quietly:"  they  are  softly 
lowered  to  the  desks  by  their  gratified  owners. 

"Those  who  had  two  marks,"  continues  the  teacher, 
"  tried,  but  not  quite  so  hard  as  they  might  have  done,  nor 
as  hard  as  they  will  try  to-morrow,  I  hope.  Put  those 
slates  down  without  any  noise."  There  is  another  set  of 
smiling  faces. 

"  All  those  who  had  one  mark,  are  my  children  too,  but 
they  didn't  work  very  hard,  and  so  I  could  only  give  them 
that.  You  may  take  your  slates  down  just  as  still  as  you 
can,  and  do  better  in  writing  next  time."  This  exordium 
is  received  in  good  part  by  the  last  set  of  little  people, 
who  look  half -ashamed,  half  sorry,  at  her  words  of  disap- 
proval. 


2QO      THE    "  QUINCY  METHODS"  ILLUSTRATED. 

Notes  and  Comments. 

The  fact  that  the  children  have  in  this  lesson  learned  to 
spell,  capitalize,  and  punctuate  the  sentence  given,  is  of 
small  importance  compared  with  the  other  fact,  that  they 
have,  in  the  course  of  so  doing,  received  most  valuable 
training  in  the  haBit  of  accurate  seeing.  The  first  has,  it  is 
true,  an  intellectual  and  practical  value,  but  the  last  has  a 
moral  force,  since  to  see  things  just  as  they  are,  is  the  foun- 
dation of  truth ;  and  because  of  the  lack  of  training  in  this 
respect,  the  world  is  filled  with  falsifiers  who  do  not  speak 
the  truth,  because  they  cannot  see  it. 


CHAPTER  V. 

A  LESSON  IN  TECHNICAL  DRAWING. 

PURPOSE  OF  THE  LESSON.— Primarily.  To  train  the  chil 
dren  to  work  accurately. 

Secondarily.  To  train  their  eyes  and  hands. 

PREPARATION  MADE  BY  THE  TEACHER.—  Practising  the  draw- 
ing, on  the  blackboard,  of  vertical  lines,  a  foot  long,  and  an 
inch  apart. 

PREPARATION  MADE  BY  THE  PUPILS.— All  the  skill  of  hand 
that  they  possess. 

PLAN  OF]  THE  LESSON.— Begin  by  having  some  gymnastic 
exercises  and  singing,  to  refresh  the  children,  and  get  them 
ready  to  sit  still.  Then  have  them  draw  four  vertical  lines 
in  the  air.  Next,  have  them  draw  the  same  on  their  slates, 
making  the  lines  three  inches  in  length. 

MEM. — (1)  Talk  as  little  as  possible,  and  tell  the  pupils 
nothing  that  they  can  see  for  themselves. 

MEM.— (2)  Sponge  out  all  careless  work. 

Close  with  a  few  quick  movements,  and  a  march,  to  rest 
and  prepare  the  pupils  for  the  next  exercise. 

THE  LESSON. 

It  is  the  middle  of  the  afternoon;  all  the  groups  have 
read,  and  all  of  the  number  lessons  have  been  given.  The 
Busy-Work  has  been  examined,  and  the  materials  put 
away.  The  children  are  in  their  seats,  and  the  time  for  a 
general  exercise  has  come. 

Suddenly  the  teacher  says,  ' '  Let  us  play  that  it  is  snow 
ing.  You  may  all  throw  snowballs  I1' 


THE   "QUINCY  METHODS"  ILLUSTRATED. 

The  scene  changes  as  if  by  magic;  the  hushed  orderly 
schoolroom  of  a  second  before,  is  now  in  the  greatest  con- 
fusion. Not  a  child  of  the  seventy-eight  is  in  his  seat;  not 
one  is  still.  Some  are  stooping  down  scooping  up  the  im- 
aginary snow  from  the  floor ;  others  are  in  the  aisles,  mak- 
ing, throwing,  or  dodging  the  imaginary  balls,  that  seem- 
ingly fly  thick  and  fast,  while  all  are  laughing  merrily  at 
the  odd  conceit. 

Into  the  midst  of  the  mirth  drops  the  tinkle  of  the  teach- 
er's bell,  and  presto!  the  ticking  of  the  clock  is  the  only 
sound  to  be  heard  in  this  room,  filled  with  the  demurest- 
looking  little  people,  all  sitting  perfectly  upright,  hands 
folded,  and  eyes  to  the  front,  waiting  for  the  next  com- 
mand from  their  leader. 

Taking  her  place  opposite  the  middle  desk  of  the  foremost 
row,  she  drops  her  folded  hands  lightly  upon  it,  and  begins 
to  sing  "Twenty  little  Froggies  went  to  School."  In  ten 
seconds,  every  boy  and  girl  present  is  singing  with  an 
abandon  that  would  make  the  fortune  of  an  Opera  tenor. 
To  tone  down  the  enthusiasm  thus  evoked,  the  teacher  next 
leads  off  with  an  airy  carol  beginning, — 

"  Little  Cherry  Blossom  lived  up  in  a  tree, 
And  a  very  pretty  little  thing  was  she;" 

which  they  warble  hardly  above  the  breath.  At  the  close 
of  this,  she  directs,  "Take  out  your  slates;  I  will  listen, 
and  I  hope  I  shall  not  hear  any  noise."  The  slates  are  very 
carefully  placed  upon  the  desks. 

Turning  to  one  little  fellow  near  at  hand,  who  was  among 
the  first  to  do  as  she  requested,  the  teacher  now  says 
quietly,  "  Eddie,  you  may  put  your  slate  back  in  your 
desk."  The  child  stares  at  her  in  muto  astonishment,  while 
the  rest  of  the  class  look  on,  and  listen. 

"I  don't  wish  you  to  work  this  tune;  you  need  rest,"  she 
adds,  smiling  most  benignantly  upon  him. 


A   LESSON  IN   TECHNICAL  DRAWING.  293 

"N— No — I— don't, — I — I  want  to— to  draw,"  stammers 
the  youngster,  getting  red  in  the  face. 

"  No  indeed !"  insists  the  teacher,  sweetly  but  firmly.  "  I 
couldn't  think  of  it.  Don't  you  remember  that  you  were  so 
tired,  you  couldn't  write,*  a  little  while  ago  ?  and  now  you 
cannot  draw;  it  is  too  hard  for  you.  Lay  your  slate  away, 
and  rest  while  the  others  work."  Her  tone  is  exceedingly 
kind,  but  her  inflections  are  not  coaxing,  and  the  child  feels 
the  unyielding  will  through  the  gentle  manner,  so  he  obeys, 
though  with  great  reluctance. 

Immediately  the  teacher,  still  smiling,  turns  to  the  class, 
and  goes  on  with  her  lesson,  thus:—"  Each  raise  your  right 
hand!  put  out  your  forefinger,  and  point  to  this  place," 
stepping  to  the  blackboard  as  she  speaks,  and  making  a 
dot  thereon.  The  children  do  as  they  are  told. 

"  Now  draw  with  me,  — a  vertical  line.''  They  have 
heard  this  term  so  often,  that  they  know  what  it  means, 
and  hence,  are  prepared  to  move  their  fingers  in  the  air,  in 
the  right  direction,  as  the  teacher  draws  her  crayon  down 
the  board,  announcing  when  her  line  is  about  a  foot  long, 
"Here  it  is.  All  ready  to  draw  another,"  she  directs,  as 
she  places  a  dot  an  inch  to  the  right  of  her  first  one. 

The  little  hands  are  all  up,  the  small  forefingers  pointing 
straight  at  the  designated  place.  "  Draw!"  the  hands  fol- 
low the  crayon  down  the  board  again.  "Ready!"  making 
a  third  dot,  an  inch  to  the  right  of  the  second,  and  the  line 
is  drawn  simultaneously  on  the  board,  and  in  the  air,  by 
teacher  and  pupils.  "  Once  more!"  making  her  fourth  dot. 
"  Draw !"  and  the  fourth  line  is  made. 

Now  turning  to  the  class,  the  teacher  announces,  "  You 
may  draw  just  as  many  lines  on  your  slates  as  there  are  on 

*  The  group  to  which  this  child  belongs,  was  given  copying  as  Busy -Work, 
the  period  previous  to  this,  and  Eddie  had  not  seen  fit  to  take  his  pencil,  and 
go  to  writing.  As  he  did  not  interfere  with  any  one  else,  the  teacher  ha4 
taken  no  outward  notice  of  his  indifference  until  now. 


294      THE   "  QUfNCY  METHODS"  ILLUSTRATED. 

the  blackboard,  and  make  them  so  long,"  holding  up  a  card 
three  inches  in  length.  "Go  to  work,"  and  without  an- 
other word,  the  children  begin  to  draw.  Thus  led  by  the 
teacher,  the  class  has  become  absorbed  in  the  lesson,  and 
Eddie  and  his  woes  are  quite  forgotten. 

Poor  little  sinner !  He  knows  very  well  why  he  is  pun- 
ished, and  child  though  he  is,  he  feels  the  justice  of  his 
penalty.  He  sits  gazing  into  space,  the  picture  of  misery, 
with  grief,  anger,  baffled  desire,  and  mortified  pride  raging 
in  his  young  soul,  until  he  can  no  longer  control  himself ; 
when  dropping  his  crimson  face— down  which  the  tears  are 
streaming— upon  his  desk,  he  gives  way  to  heavy  fast  com- 
ing sobs. 

Just  at  this  crisis,  the  trainer  —  who  happened  to  be 
out  of  the  room  at  the  beginning  of  the  affair— not  knowing 
the  reason  for  this  outburst,  hastens  to  the  side  of  the  child, 
and  anxiously  inquires  the  cause  of  his  trouble. 

"T-Teacher  hur-hurted  m-me,"  sobs  out  the  unhappy 
youngster;  whereupon  she  discreetly  betakes  herself  to  an- 
other part  of  the  schoolroom,  leaving  the  small  culprit 
again  alone  with  his  sins,  and  their  retribution. 

Nothing  of  all  this  has  escaped  the  teacher,  who  now 
apparently  oblivious  of  his  presence,  proceeds  to  move 
calmly  through  the  aisles,  helping  the  small  artists.  These 
have  become  so  taken  up  with  their  work,  as  often  to  be 
unconscious  of  her  presence,  until  a  card  laid  silently  upon 
their  slates,  shows  them  that  their  lines  are  too  long,  too 
short,  or  about  right. 

Occasionally,  the  teacher  comes  across  an  expeditious 
young  drawer,  who  impelled—  prrhaps  by  the  idea  that 

"Art  is  long,  nnd  time  is  llrctin^," 

is  filling  his  si  ate  with,  lines,  that  are  more  showy  as  to 
<|iiaritity,  than  quality.  For  such  a  <•  isc.  ln-r  remedy  is 
simple,  but  efficacious:  a  wet  sponge  effaces  the  drawing, 


A   LESSON  IN   TECHNICAL  DRA  WING.  295 

and  the  serene  remark,  "I  cannot  have  any  careless  work, 
try  again ;"  cools  the  impetuosity  of  the  precipitate  young- 
ster, who  learns  thus,  that  the  more  haste,  the  less  speed," 
and  goes  to  work  again  a  sadder  and  a  wiser  child. 

When,  on  the  contrary,  the  first  group  of  four  lines  is 
well  drawn,  she  says,  "  I  like  those,  make  mo  four  more," 
and  leaves  the  pleased  little  one  with  a  still  stronger  im- 
petus to  do  good  work.  One  slate  she  refuses  to  examine, 
saying,  "I  never  look  at  a  dirty  slate;"  adding  with  a 
glance  of  disapprobation  at  the  owner's  grimy  hands,  "and 
I  don't  like  children  that  are  not  neat.  Go  out,  and  wash 
both  your  slate,  and  yourself,"  which  he  does  with  hanging 
head,  and  flushed  cheeks. 

By  the  time  every  slate  has  been  seen  either  by  the 
teacher  or  trainer,  the  fifteen  minutes  have  expired,  and 
the  bell  is  struck  for  the  slates  to  be  put  away.  When  this 
is  done  the  teacher  says,  "You  may  put  your  hands— in 
your  desk !  In  your  pockets !"  This  occasions  considerable 
smiling,  and  the  next  question  is,  "  Would  it  look  well  to 
keep  them  there  ?" 

"  No'ml"  comes  in  confident  chorus. 

"Very  well.  Take  them  out,  and  clap  them  just  as 
many  times  as  I  made  lines  on  the  blackboard.  Now,  the 
girls  may— face  to  the  right!"  They  wheel  like  a  flash, 
only  one  breaking  the  line. 

"  And  all  the  boys  face  the— right!" 

Several  are  caught  by  this  device  of  the  teacher  to  train 
them  to  listen  well,  and  turn  to  the  left,  but  shift  suddenly 
amid  the  laughter  of  their  mates. 

"All— face!  Stand!  You  may  have  a  little  march,  and 
Mamie  shall  be  the  captain  to-day,  because  she  holds  her 
head  up,  and  keeps  her  shoulders  back. " 

The  little  girl — all  smiles  and  dimples— leads  the  line  in 
the  first  aisle,  and  the  small  soldiers  march  off  to  the  tap 


296      THE    "QUINCY  METHODS"   ILLUSTRATED. 

of  the  teacher's  triangle,  while  the  trainer  opens  the  win- 
dows and  door. 

"  Eddie,  I  am  afraid  that  you  will  take  cold,"  says  the 
teacher;  "go  and  sit  in  Harry  R's  seat,  out  of  the  draught." 

The  forlorn  little  man  rises  slowly,  and  walks— without 
lifting  his  swollen  eyelids— to  the  designated  place,  where 
he  sits,  watching  sorrowfully  his  light-hearted  comrades, 
in  whose  play  he  can  have  no  part,  because,  he  has  not 
chosen  to  work  with  them. 

"  Willie,  Nettie,  George,  and  Fred  may  be  officers,  to  keep 
the  rest  in  straight  lines,"  announces  the  teacher  presently, 
observing  that  her  miniature  militia  are  not  marching  well. 
These  children  instantly  step  out  of  the  ranks,  and  assum- 
ing an  air  of  grave  responsibility,  proceed  to  arrange  them- 
selves  at  about  equal  distances  beside  the  line,  and  begin 
to  even  the  row.  The  others  obey  these  amateur  officials 
with  alacrity. 

When  the  whole  company  is  ranged  in  good  order, — 
"Clap  your  hands!"  commands  the  teacher,  and  round  they 
march,  all  of  the  older  ones  keeping  a  sharp  lookout  for 
any  new-comer,  who  does  not  know  where  to  go,  and  tak- 
ing by  the  shoulders  the  little  ones,  as  they  come  to  the 
turns,  to  be  sure  that  they  make  square  corners. 

At  the  end  of  three  minutes  from  the  time  they  began, 
the  teacher  says,  "March  to  your  seats!"  and  they  break 
the  line,  passing  up  the  aisles,  and  into  their  seats.  The  door 
and  windows  are  shut,  and  a  general  lesson  in  language 
follows.  But  Eddie's  tears  are  still  falling;  still  he  takes  to 
heart  his  bitter  lesson.  Possibly,  being  so  well  studied,  it 
will  be  all  the  longer  remembered. 


A   LESSON  IN  TECHNICAL  DRAWING.  297 


Notes  and  Comments. 

An  instructor  of  youth— like  a  doctor— needs  to  be  ready 
for  an  emergency;  for  some  of  the  most  eifective  teaching 
ever  done,  is  done  incidentally,  and  as  opportunity  offers. 
Much  to  be  envied  are  those  teachers,  that — like  the  one 
whose  work  has  just  been  described — possess  this  wise  readi- 
ness. Such  can  gain  from  any  exercise,  a  means  of  train- 
ing in  desirable  habits,  or  good  manners ;  can  use  each  care- 
less or  slovenly  pupil,  as  an  example ;  and  make  of  every 
naughty  little  child,  a  great  moral  preacher;  an  eloquent 
expounder  of  the  text, — "The  way  of  the  transgressor  is 
hard." 


CHAPTER  VI. 

CONCRETE  EXPRESSION.— CLAY  MODELLING. 

THE  only  training  in  expression  in  the  concrete,  given  the 
pupils  of  the  lowest  Primaries  in  Quincy,  is  in  Modelling  in 
Clay;  a  lesson  in  which  is  herewith  transcribed,  together 
with  the  u  General  Exercise"  which  preceded  it. 

PURPOSE  OF  THE  LESSON.—  To  give  the  children  a  good 
time,  and  in  the  course  of  it,  to  train  them  to  model  a 
spherical  body. 

PREPARATION  MADE  BY  THE  TEACHER.— Working  over  and 
cutting  the  clay,  and  getting  the  sponges  ready. 

PREPARATION  MADE  BY  THE  PUP/LS.—AU  the  modelling  they 
have  ever  done,  and  all  the  pleasure  they  have  experienced 
in  the  doing. 

PLAN  OF  THE  LESSON.— First.  Prepare  the  clay  at  noon. 

Second.  Let  two  children  bring  it  from  the  closet  to  my 
table. 

Third.  Have  the  pupils  place  their  slates  on  their  desks. 

Fourth.  Distribute  the  clay  as  rapidly  as  possible. 

N.B. — The  dnldren  are  not  to  touch  it  until  we  are  ready. 

Fifth.  Tell  them  to  make  a  spherical  body,  and  begin  to 
sing, 

Sixth.  Examine  the  work,  and  give  suggestions  to  the 
pupils. 

Seventh.  Let  fchoee  who  sit  in  the  front  row  collect  the 
clay  balls. 

Eighth.  Have  the  sponges  passed. 

Ninth.  Dismiss. 


CONCRETE  EXPRESSION.— CLA  Y  MODELLING.     299 


GENERAL     EXERCISE. 

The  school  day,  and  the  school  week  are  almost  over. 
The  pupils  are  tired,  and  decidedly  fretful,  while  the 
teacher,  if  she  were  not  a  New  Method-ist  would  be  called 
cross;  but  as  an  apostle  of  the  "New  Education"  is  never 
ihat,  she  is  only  laboring  under  a  heavy  sense  of  the  great 
responsibility  of  her  position(l). 

But  this  teacher  is  also  a  student,  both  of  human  nature, 
and  of  psychology,  and  knowing  the  usual  tendency  of 
humans—  both  young  and  old  —  to  find  their  world  a  hollow 
mockery  on  Friday  afternoons,  she  has  prepared  herself 
accordingly. 

Possibly,  one  reason  for  the  slight  ruffling  observable  in 
the  disposition  of  this  instructor  of  youth,  is  the  fact,  that 
the  most  of  her  noon  recess  was  spent  in  this  very  prepara- 
tion; viz.—  working  over  the  clay,  and  cutting  it  into  small 
thick  pieces,  ready  for  modelling. 

At  half  -past  three,  the  children  come  back  to  their  seats 
from  class  recitations,  stop  their  Busy-Work,  and  are  given 
a  general  language  lesson,  reviewing  certain  hard  words, 
that  belong  to  their  script  vocabulary.  The  exercise  is  con- 
ducted in  this  fashion. 

The  teacher  writes  on  the  front  blackboard,  the  word 
after,  and  says,  "  Tell  me  a  story,  and  put  that  word  in  it." 
Several  hands  go  up.  l  '  John.  " 

"The  cat  ran  after  the  rat." 

1  '  I  think  she  did.     Patrick.  " 

"The  dog  ran  after  the  cat." 

*  '  That  is  almost  too  much  of  a  procession  ;  use  some 
other  word  besides  ran.  Peter." 

"  The  boy  walked  after  the  man." 

"Who  will  make  me  a  story  about  himself,  and  not  put 
in  walked,  ran,  hopped,  or  jumped  ?"  This  interdict  is 
rather  hard  on  the  little  thinkers,  it  cuts  off  so  many  of 


(IW7BRSIT 


300     THE    "QUINCY  METHODS"   ILLUSTRATED. 

their  sentences;  consequently  nearly  all  the  hands  go  down, 
and  the  smiles  fade.  Of  the  few  children  still  ready,  the 
teacher  calls  upon  Ellen. 

Proud  of  her  power  to  make  a  sentence  when  the  others 
fail,  she  gives  her  head  a  little  triumphant  toss,  as  she  says, 
"I  am  going  home  this  after— noon." 

The  blunder  is  funny;  but  the  teacher  is  not  in  a 
mood  to  be  easily  amused,  so  she  answers  with  just  the 
faintest  suspicion  of  irritation  in  her  low  tones,  "  That  isn't 
what  I  want;  try  again." 

Poor  little  tots!  they  knit  their  brows,— stare  at  the  wall, 
—bite  their  lips  and  try  hard  to  think  of  something  that 
will  do : — at  last  a  hand  rises. 

Clarence  takes  the  floor,  and  announces,  "The  dog  fol- 
lowed after  me,  when  I  went  to  get  the  milk. 

"That  is  good,"  pronounces  the  teacher,  and  the  gloom 
fast  settling  down  upon  the  weary  little  workers,  lifts,  the 
faces  light  again,  and  the  hands  begin  to  come  up.  But  sho 
only  wanted  to  set  them  to  thinking,  so  the  teacher  takes 
another  tack,  and  demands,  "Ask  me  a  question  putting 
that  word  in  it." 

After  an  instant's  hesitation  to  adapt  themselves  to  the 
new  line  of  things,  a  few  signify  that  they  have  thought 
of  something,  and  Georgia  being  called  upon  inquires, 
"  Did  you  go  home  after  school  last  night  ?" 

"Very  good;  one  more  question."  Several  hands  are  in 
the  air.  "Harry." 

"Did  you  go  down  town  after  supper  ?" 

Turning  toward  the  board,  the  teacher  writes  them.  The 
first  one  ready  is  Tommy,  a  mischievous,  happy-go-lucky 
little  fellow,  on  the  front  seat,  who  is  apt  to  look  knowing, 
but  seldom  proves  to  be.  Pleased  by  his  promptness  this 
time,  the  teacher  gives  him  a  chance  to  speak,  and  this  is 
\vh;il  he  says: 

"  Them  apples  are  red." 


CONCRETE  EXPRESSION.— CLAY  MODELLING.     3OI 

A  shade  of  vexation,  certainly,  falls  athwart  the  teacher's 
face,  for  a  second,  and  her  tone  has  rather  a  despairing 
cadence  as  she  appeals  to  the  class;—" Is  that  right  ?" 

Fully  half  of  the  hands  are  up ;  fully  half  of  the  heads  are 
shaking  a  negative,  for  there  has  been  considerable  mention 
of  this  very  error,  and  every  child — the  teacher  thinks — 
ought  to  be  able  to  correct  it. 

"  Clara,  what  do  you  say  ?" 

"  Those  apples  are  red." 

"  Tell  me  another  story  about, — them." 

The  first  failure  was  a  damper,  the  children  are  tiredv 
and  they  miss  the  stimulus  of  the  teacher's  usual  cheery, 
genial  presence.  Besides  this  is  difficult  work  for  such 
young  students,  and  they  are  too  young  to  force  their 
minds  to  act,  so  the  mental  machinery  stops:  only  the 
teacher  can  start  it  again,  which  she  does  by  saying  pleas- 
antly, "  Let  us  play  that  the  apples  are  in  a  basket ;  now  tell 
me  something. "  Quite  a  number  have  a  thought.  ' '  Sadie  ?" 

"I  see  them  in  the  basket." 

"Yes;   Charley." 

"  When  the  boys  run,  I  can  catch  them." 

"That  is  nice;  who  will  make  me  a  question  about, — 
them  ?"  Being  well  started  they  go  on. 

Frank  says,  "  Did  you  see  them  ?" 

Carrie:  "  Do  you  run  for  them  ?" 

Evidently  that  word  is  conquered,  so  the  teacher  writes, 
another,  — into. 

"Who  is  ready?    Ned." 

"I  put  my  hand  into  the  bag." 

"  Very  good;  Susie." 

"  The  boy  jumped  into  the  water." 

"Yes.     Oscar." 

"  I  ran  into  the  house." 

"We  will  have  some  questions.     Gertie." 

"  Can  the  dog  jump  into  the  water  ?" 


302       THE   "QUSNCV  METHODS"   ILLUSTRATED. 

"  Did  Walter  fall  into  the  pond  ?"  asks  Mina. 

The  teacher  writes,— by,  and  inquires,  "Who  is  ready? 
Percy." 

"I  said  good-by,  to  my  mother,  when  I  came  to  school." 

"That's  a  good  sentence,"  commends  the  teacher,  warned 
by  the  balking  after  the  last  correction,  to  change  her  man- 
ner; "but  that  isn't  what  this  word  means.  You  may 
come  to  me,  and  tell  me  whether  you  passed,— by— any 
chairs,  or  not." 

The  child  does  as  he  is  told,  and  asserts,  "I  passed  by  one 
chair." 

"You  may  walk  back  to  your  seat,  and  tell  me  some- 
thing else  that  you  passed  by." 

"I  passed  by  John." 

All  the  class  have  been  attentive  observers  of  this  little 
lesson,  and  now  many  hands  are  in  the  air.  "  Mary." 

"I  passed  by  a  house  on  my  way  to  school." 

"Mikie." 

"  The  horse  passed  by  the  tree." 

"You  need  not  all  use  the  word  passed,"  expostulates  the 
teacher,  smiling,  in  spite  of  her  irritation,  at  their  uncom- 
mon dulness.  "  Tell  me  something  that  the  horse  did,  and 
leave  out  passed,  and  put  in— by.  Sammie." 

"  The  horse  went  by  the  post." 

Now  they  have  the  cue,  and  everybody  has  something  to 
say. 

"Peter." 

"The  bird  flew  by  the  window." 

"Jakie." 

"The  dog  went  by  the  yard." 

Words  enough  have  now  been  given  for  one  lesson,  but 
these  must  be  reviewed,  and  the  teacher  is  desirous  of  gain- 
ing the  very  best  work  from  these  children  at  the  last,  how 
shall  she  IMMHH^O  to  do  so  when  they  are  still  more  weary, 
than  at  the  beginning  of  the  lesson?  The  application  of 


CONCRETE  EXPRESSION.— CLAY  MODELLING.     303 

a  stimulant  is  her  only  hope,  and  this  is  the  one  she 
uses: 

"  How  many  of  you  would  like  to  make  me  a  spherical 
body  out  of  clay,  this  afternoon?"  Every  hand  is  flung  up 
with  great  energy,  every  face  beams  like  the  rising  sun. 
"I  thought  so;  I  am  going  to  have  some  other  sentences 
made  about  these  words,  and  if  the  stories  are  very  nice, 
after  they  are  told,  we  will  play  with  the  clay." 

Now,  every  eye  is  fixed  upon  the  blackboard,  the  busy 
brains  are  all  at  work  in  full  force,  and  presently  the  hands 
begin  to  come  up,  but  not  rapidly,  for  the  pupils  remember 
that  quality  is  a  consideration. 

When  nearly  all  are  ready,  the  teacher  touches  the  word 
them  with  her  finger  and  says,  "  Who  has  a  sentence  about 
this  word?"  Fully  a  third  of  the  hands  fall.  "I  wonder 
who  has  the  very  best  story.  Jennie." 

"  If  I  pick  some  flowers  to-morrow,  I'll  bring  them  to  you 
on  Monday." 

Both  the  sentence  and  the  sentiment  gratify  the  teacher, 
who  answers  heartily,  "That  is  nice.  Now  for  a  story 
with  by  in  it.  Bridget." 

"  Mr.  R.  went  by  the  schoolhouse  in  a  buggy." 

1  'That's  a  good  one;  let  me  hear  something  about  into 
next.  Arthur." 

"  I  put  my  hand  into  the  basket  to  get  an  apple." 

"Good!  Here  is  one  more  word,"  pointing  to  after. 
Many  hands  are  waved  eagerly,  but  it  is  the  most  quiet  one 
that  belongs  to  the  child  selected.  "  Katie." 

"  I  go  to  bed  after  I  eat  my  supper." 

"Now,  who  will  ask  a  question,  and  put  in  after?  Lil- 
lie." 

"  May  I  collect  the  balls  after  we  have  made  them?" 

"After  telling  me  such  a  nice  story,  I  shall  have  to  let 
you  go  and  bring  the  clay."  The  child's  face  is  radiant 
with  pleasure. 


304       THE   "QUI.VCY  METHODS"   ILLUSTRATED. 

"Alice  may  help.  You  will  find  the  clay  in  the  closet; 
take  off  the  wet  cloth,  and  leave  it  on  the  shelf." 

The  little  girls  go  to  a  closet  at  the  back  of  the  room,  and 
return  bearing  between  them  a  board  about  two  feet  long, 
by  a  foot  wide,  upon  which  is  the  clay  cut  into  small 
lumps,  a  little  over  an  inch  square. 

THE  LESSON. 

*  *  Each  one  place  your  slate  upon  your  desk,  ready  for  a 
piece,"  directs  the  teacher,  taking  the  board  upon  her  left 
arm,  and  starting  down  the  first  aisle.  Remember,"  she 
adds,  pausing  an  instant,  and  looking  her  class  full  in  the 
face,  ''that  no  one  is  to  touch  the  clay,  until  I  tell  him  to." 

Up  and  down,  she  goes,  dropping  a  lump  on  each  slate 
in  passing.  This  the  children  view  with  longing  eyes,  and 
impatient  fingers,  which  they  can  hardly  keep  off  the  clay, 
till  the  word  is  given.  The  teacher  speaks  the  instant  the 
last  slate  is  supplied,  for  knowing  well  the  great  temptation 
she  has  set  before  the  little  people,  she  feared  lest  some  of  the 
weaker  ones  would  not  be  able  to  resist;  but  they  do,  and  it 
is  with  a  genuine  smile  that  she  announces,  u  Now  we  are 
ready  to  make  a  spherical  body." 

At  this,  every  child  catches  up  his  chunk  of  clay,  and  be- 
gins to  roll  it  between  his  palms,  chiming  in  full  hearty 
chorus  the  teacher's  song,— 

"  Roll  the  hands,  roll  the  hands  so  slowly, 

As  slowly  as  can  be; 
Roll  the  hands,  roll  the  hands  so  slowly, 
And  make  a  ball  for  me." 

A  little  after,  follows  the  second  stanza,  which  accelerates 
the  movements  of  the  happy  little  workers,  the  words 
running;— "Roll  the  hands,  roll  the  hands  so  quickly," 
etc.  At  the  close  of  the  song,  they  model  quietly  for  a  few 
moments,  most  of  the  sphere-makers  being  completely  ab- 


CONCRETE   EXPRESSION.— CLAY  MODELLING.     305 

sorbed  in  trying  to  get  their  balls  round;— a  matter  requir- 
ing considerable  skill. 

Now  and  then,  one  of  the  younger  ones  will  turn  about 
and  display  his  marble — as  he  calls  it — to  his  friend  in  the 
rear ;  or  two  will  fall  to  comparing  results  across  an  aisle ; 
but  there  is  little  whispering  and  no  confusion. 

Meantime,  the  teacher — who  is  waiting  for  the  children  to 
have  something  to  show  her — is  taking  advantage  of  the 
interval,  and  their  complete  absorption  in  the  modelling,  to 
put  her  table  in  order  for  the  close  of  the  week.  This  being 
accomplished,  and  observing  that  some  of  the  clay  has 
begun  to  assume  the  appearance  of  a  spherical  body,  she 
takes  to  the  aisles,  and  begins  her  examination  of  the  work 
done. 

If  not  too  much  engrossed  to  notice  her  coming,  the  small 
artist  holds  out  a  hand  with  the  clay  ball  upon  it,  for  her 
judgment.  Some  of  the  first  inspected,  are  flat,  and  the 
teacher  turning  to  the  class  puts  a  few  quick  questions 
thus: 

"Children,  what  are  you  making?" 

"  A  spherical  body!"  is  the  ready  chorus. 

"  How  do  you  make  it?" 

"Roll  it,  and  make  it  round." 

"How  round?" 

"All  round." 

"  How  do  you  know  that  it  is  round  all  round?" 

"  When  we  can  roll  it  every  way." 

"  Yes.  Try  ^y  our  clay  now  on  your  slates,  to  see  if  it  will 
roll  every  way ;  then  we  shall  know  whether  it  is  a  spheri- 
cal body  or  not." 

All  immediately  perform  the  experiment,  and  forgetful  of 
established  custom,  at  once  proclaim  the  result.  "Mine 
will!"  "Mine  stands  still!"  "Mine  is  a  spherical  body!" 
"  So  is  mine !"  "  Mine  is  a  spherical  body  on  one  side,  any- 
how ?' 


306      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"That  will  do,  children.  Jimmie."— to  the  last  speaker, 
"  when  is  anything  a  spherical  body?" 

4 'When  it  will  roll  every  way." 

"  But  if  it  doesn't  roll  every  way,  is  it  a  spherical  body?" 

"No'm!" 

"Then  yours  cannot  be  a  spherical  body  even  on  one 
side.  Be  careful  not  to  press  too  hard;  treat  the  clay 
gently,  if  you  want  it  to  be  round.  Sing,  softly  now, 
'Roll  the  hands  so  lightly.'"  When  this  is  over,  the 
teacher  announces,  ' '  Only  three  minutes  more,  and  then  I 
must  gather  up  the  balls.  See  how  round  you  can  make 
them  in  that  time."  • 

This  period  is  spent  in  silently  and  steadily  giving  their 
finishing  touches;  the  little  artists  modelling  with  the  ut- 
most care  and  patience,  and  examining  anxiously,  the  soft 
clay  every  second  or  so,  to  see  how  it  is  coming  on. 

When  the  time  has  expired,  the  teacher  brings  for- 
ward a  water-pail,  in  which  are  five  great  sponges,  wet,  but 
well  squeezed,  and  says,  "Those  who  sit  in  the  front  row, 
may  take  their  slates,  and  pass  back  collecting  the  clay- 
balls  from  the  desks,  as  they  go." 

Five  children  rise  at  once,  with  their  own  balls  upon  their 
slates,  and  start  down  the  aisles.  As  they  pass  each  desk, 
the  child  there  seated  places  his  ball  carefully  upon  the 
slate.  Sometimes  the  modellers  are  all  ready,  but  gen- 
erally each  rolls  till  the  last  second,  and  then  giving  his  ball 
a  final  caressing  pat,  looks  at  it  lovingly,  as  he  lays  it  on  the 
slate,  and  watches  it  down  the  aisle  till  he  can  no  longer 
distinguish  his  own  from  among  the  others,  in  the  lot. 

"  Place  the  slates  carefully  upon  the  block  table,"  is  the 
next  direction  given  to  those  collecting  the  balls. 

During  this  time  the  clay-workers  have  been  cleaning 
their  hands.  The  big  wet  sponges— one  for  each  row— have 
been  passed  from  the  front,  back  to  the  pupils  in  turn :  a 
quick  rubbing  upon  these  sponges,  a  hasty  wiping  upon 


CONCRETE   EXPRESSION.—CLAY  MODELLING.     307 

their  slate-cloths,  and  their  hands  are  left  in  at  least  a  pass- 
able condition,  until  the  children  can  reach  home,  where 
they  are  now  about  to  go. 

"Are  you  ready  to  be  dismissed?"  inquires  the  teacher. 
This  brings  them  all  up,  suddenly,— alert,  erect,  and  eager. 
"  First  row  face !  Eise !  Pass !"  The  other  rows  are  called 
in  their  order,  till  all  the  pupils  have  been  out,  got  their 
hats,  and  returned  to  their  seats. 

"  Good-night!"  says  the  teacher. 

"  Good-night,  Miss  B. !"  call  back  the  little  ones. 

Just  at  this  moment,  the  double  doors  opening  into  the 
next  apartment  are  folded  back,  disclosing  another  roomful 
of  little  ones,  also  seated,  ready  to  go.  A  trainer  now  ap- 
pears upon  the  scene  with  a  metalaphone;  upon  this  she 
strikes  a  blow,  and  the  children  in  both  rooms  face;  an- 
other, and  they  rise.  Then  she  begins  to  play  a  lively  air, 
and  the  little  ones  march  off,  falling  into  long  lines,  until 
they  reach  the  rear  of  the  rooms,  where  as  the  files  pass 
the  first  and  second  aisles,  the  girls  go  up  one,  and  the  boys 
the  other. 

When  the  children  of  both  rooms,  thus  divided,  meet 
at  the  wide  doorway,  the  two  single  files  form  a  double 
file,  the  little  ones  taking  hold  of  hands  to  keep  them  to- 
gether. As  the  boys  pass  through  the  doorway  into  the 
hall,  they  put  on  their  hats  or  caps — which  up  to  this  time 
they  have  carried  in  their  hands— and  stepping  to  the  beat 
of  a  drum  on  the  stairway,  the  children  pass  out.  into  the 
yard,  another  week  of  their  school-life  having  come  to  a 
close. 

Notes   and  Comments. 

As  well  plant  flowers  in  the  damp  darkness  of  a  cellar, 
and  expect  them  to  blossom,  as  to  place  little  children  in 
the  same  room  with  a  nervous,  irritable,  or  low-spirited 
teacher,  and  expect  their  mental  powers  to  expand,  and 


308      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

grow.  This  is  a  truth,  which  some  stolid  instructors  have 
not  yet  comprehended :  just  as  a  few  stupid  people  do  riot 
believe  in  electricity,  because  they  have  never  been  struck 
by  lightning.  Whether  it  is  benevolent  to  hope  for  a  streak 
to  penetrate  the  density  of  both  classes,  is  a  question  of  eth- 
ics still  open  for  discussion. 


CHAPTER  VII. 

A  LESSON  IN  SINGING. 

IT  is  as  natural  for  little  children  to  sing,  and  to  love  to 
sing,  as  it  is  for  the  birds ;  and  they  should  be  taught  how 
to  sing,  as  well  as  the  birds,  and  in  much  the  same  fashion, 
— i.e.:  by  imitation. 

The  first  teaching  done  in  this  branch  of  study  is  like  all 
elementary  teaching,  foundation  work,  and  should  accom- 
plish certain  results. 

First.  It  should  awaken  and  develop  a  love  for  music. 

Second.  It  should  train  the  voice  and  the  ear. 

Third.  It  should  form  the  habits  of  using  the  voice 
properly,  and  of  singing  with  distinct  articulation  and  cor- 
rect phrasing. 

Fourth.  It  should  afford  the  little  ones  a  large  amount  of 
recreation  and  enjoyment. 

The  means  by  which  these  ends  are  reached,  are  the 
following : 

The  first,  through  a  great  deal  of  Rote  Singing,  carefully, 
correctly,  and  sweetly  done,  the  songs  being  learned  entirely 
by  imitation.* 

The  second,  by  the  singing  of  the  Major  Scale— ascending 
and  descending — considered  as  the  whole  or  unit  of  measure- 
ment in  pitch;  and  afterward,  by  teaching  the  relative  pitch 
of  each  sound,  presenting  it  objectively,— to  the  ear  first, 
and  then  to  the  eye,  by  means  of  hand  signs ;  or  color  nota- 
tion. 

*  Which  means— it  probably  does  not  need  a  note  to  state— that  the  teacher 
must  be  able  to  sing  in  this  same  beautiful  manner. 


310      THE    "QU/ArCy  METHODS'*   ILLUSTRATED. 

Tune  should  be  followed  by  Time,  taught  in  a  similar 
manner. 

The  third  point  is  gained  by  the  constant  and  continuous 
practice  of  exercises,  calculated  to  train  the  children  to 
sing  habitually,  in  the  manner  desired. 

The  fourth  and  last  is  not  a  matter  of  effort  at  all,  though 
the  amount  may  be  added  to,  or  taken  from,  as  the  teacher 
is  wise,  or  otherwise. 

Two  or  three  cautions  may  not  be  out  of  place. 

(1)  Don't  let  the  children  sing  as  loud  as  they  can;   it 
ruins  young  voices,  and  vitiates  the  taste. 

(2)  Always  omit  exercise  songs  that  require  energetic  ac- 
tion.   Vigorous  movements  made  while  singing,  interfere 
seriously  with  the  production  of  tone,  and  are  apt  to  lead 
children  to  sing  without  expression,  giving  them  a  jerky 
style  of  phrasing. 

(3)  Never  allow  pupils  to    sing   while  performing  their 
gymnastic  exercises:  the  combination  is  fatal  to  the  well- 
doing of  either,  and  might  be  fatal  to  the  performer  (?). 

As  the  manner  of  giving  a  Singing  Lesson  does  not  vary 
materially  in  the  different  grades,  the  one  here  described, 
will  be  the  only  illustration  of  the  teaching  in  this  depart- 
ment of  study,  presented  in  the  Primary  Course. 

THE  LESSON. 

"  Children,  if  I  find  a  great  many  handsome  i's  on  your 
slates  this  afternoon,"  remarks  a  teacher  of  the  first  Prim- 
ary grade,  to  her  pupils,  "  I  may  think  it  best  to  give  you  a 
singing  lesson." 

"Oh,  do!"    "Please  do!"  is  the  urgent  chorus. 

"Let  me  see  what  sort  of  writers  you  are  first;  go  to 
work." 

Thus  spurred  on,  the  little  people  proceed  to  labor  with 
most  painstaking  assiduity,  until  the  time  for  the  writing 
lr.-:s<>n  has  expired;  when  the  teacher  announces  that  the  i's 


A    LESSON  IN  SINGING.  311 

are  very  good.  The  children  then  lay  their  slates  carefully 
away  within  their  desks,  and  assume  immediately  the  atti- 
tude of  attention  as  to  body,  and  of  expectancy  as  to  mind. 

"Sit  up  as  tall  as  you  can,  and  lean  a  little  forward,"  is 
the  first  direction, — at  once  obeyed.  "Are  you  happy 
little  girls  and  boys?" 

"Yes'm!" 

"Very  well;  look  so,— I  like  to  be  smiled  at."  This 
brings  all  of  the  dimples  into  full  play.  "That's  better.— 
Do-re-me-fa-sol-la-si-do, — do-si-la-sol-fa  me-re-do, "  sings  the 
teacher,  breaking  abruptly  from  speech  into  song.  "Now 
you  give  me  the  scale." 

They  do  this  with  a  considerable  degree  of  confidence,— 
being  inspired  by  the  easy,  assured  manner  of  the  teacher, — 
but  not  quite  correctly. 

"Yes;  hear  me, — do-re-me-fa-sol-la-si-do,—  do-si-la-sol- fa- 
me-re-do. Now  it  is  your  turn !" 

This  time  they  sing  with  greater  certainty  and  more 
accuracy. 

"  I  am  going  to  sing  the  names  of  the  sounds, — one-two- 
three  -four  -five  -  six  -  seven  -  eight, — eight  -  seven  -  six-five-four- 
three-two-one.  You  may  do  the  same." 

They  sing. 

"  Once  more,"  and  by  this  time,  every  one  in  the  room  is 
making  some  kind  of  a  sound,  either  musical  or  otherwise. 

"Who  can  tell  what  I  am  saying  now?"  inquires  the 
teacher,  making  the  shapes  of  the  syllables— with  a  slightly 
exaggerated  action  of  the  lips,  and  lower  jaw — but  no 
sound. 

At  first,  the  children  stare  at  her  in  dumb  astonishment, 
then  one  or  two  catch  the  idea,  and  watching  closely,  call 
out,  "Do,  re,  me,  fa,  sol,  la,  si,  do." 

"  You  may  try  if  you  like,  but  be  sure  to  make  the  sylla- 
bles very  plain,  or  I  shall  not  know  them,"  which  they  are 
pleased  to  do. 


312      THE   "QUINCY  METHODS"   ILLUSTRATED. 

Having  thus  called  attention  in  an  attractive  way,  to 
their  manner  of  articulation,  she  proceeds  to  make  use  of 
the  interest  she  has  thus  aroused.  "Listen  again," — and 
she  whispers  the  syllables,  enunciating  them  with  great 
distinctness. 

"  When  I  drop  my  hand,  I  want  you  to  whisper  the 
syllables,  but  make  them  very  clearly,  or  I  shall  not  be  able 
to  tell  what  you  are  saying,  for  you  must  not  whisper  loud, 
and  I  am  going  to  look  the  other  way." 

Thus  incited,  the  children  make  the  sounds  with  great 
distinctness,  and  in  this  way  gain  considerable  exercise  of 
the  language-making  organs. 

"  Good!  sing  them  to  me  very  softly,  and  plainly." 

"  Do-re-me-fa-sol-la-si-do,"  warble  the  little  songsters. 

"  That's  nice;  come  down  the  scale,  the  same  way."  It  is 
done.  "Now  I  am  going  to  show  you  something.  This  is 
the  way  somebody  sings, -^do,"  giving  the  note;  ''and  this 
is  the  way  he  looks,"  holding  out  her  hand  doubled  into  a 
firm  fist,  held  horizontally  with  the  palm  down.  "  Doesn't 
he  look  strong?" 

"  Yes'm!"  from  the  interested  children. 

"Doesn't  he  sing  in  a  strong  way  too?  listen; — do,"  giving 
the  tone. 

"Yes'm!" 

"Now,  that  is  the  father  and  you  shall  sing  for  him, 
when  I  show  him  to  you.  What  kind  of  a  man  is  he?" 

"  Strong  1" 

' '  Yes.    Sing,  "—holding  out  her  fist. 

"  Z>o,"  sounds  the  class. 

"Did  we  say  his  voice  was  loud?" 

"No'm!" 

"What  did  we  say?" 

"  That  it  was  strong." 

"Make  the  do  strong,  but  not  loud;— sing!"  presenting 
her  folded  hand  again.  T  hoy  £ive  it  with  a  firmer  tone. 


A    LESSON  IN  SINGING.  3J3 

"You  may  show  me  the  father,  and  I'll  sing  for  him." 
The  small  folks  thrust  out  their  tiny  fists  nimbly,  consider- 
ing it  great  sport. 

The  teacher  sings  do,  pursing  her  lips,  and  making  a  very 
round  mouth.  Then  she  holds  out  her  fist,  and  the  pupils 
give  the  sound,  involuntarily  imitating  her  facial  ex- 
pression. 

"  Whom  have  you  been  singing  for,  children?" 

"The  father." 

"Yes;  hear  this— sol  isn't  it  a  good  sound?  sol.  That  is 
the  way  the  mother  sings,"  making  the  sound  again, — "  sol; 
and  here  she  is," — putting  out  her  open  hand,  held  sidewise. 
'  ' Hear  her,  —  sol.  Now,  you  sing  for  her. " 

"  Sol,"  chorus  the  little  ones. 

"  Once  more,—  sol,"  singing  with  them.  "  You  may  sing 
for  the  mother,  alone." 

11  Sol,"  instantly  sound  the  pupils. 

"Good !  sing  for  the  father,"  giving  the  hand  sign. 

It  is  done,  and  well  done. 

"Now  for  the  mother  with  me,"  presenting  the  open 
hand. 

Full  chorus,— "Sol." 

"  How  does  the  mother's  voice  sound?" 

"Good!" 

"  Yes;  and  the  father's?" 

"Strong!" 

"Sing  for  the  father." 

"Do,"  sing  the  children. 

"Now for  the  mother. — Yes.  Well,  this  mother,"  showing 
the  hand,  "and  this  father,"  making  the  fist,  "have  a 
lovely  little  girl,  and  she  sings  too,  very  sweetly, — like 
this,"— singing  me.  "  She  looks  like  her  mother  a  little,  but 
she  isn't  so  tall;  see  her?"  holding  her  extended  hand,  palm 
down.  "Who  is  this?" 

"The  little  girl." 


3H       THE   "QUINCY  METHODS"   ILLUSTRATED. 

"Listen  to  her  voice  again,— me.    You  sing  for  her." 

"  Me"  is  the  response. 

"How  does  she  sing?" 
."  Sweetly." 

' '  Yes.    Once  more  together. " 

"  Me"  sings  the  class. 

"  Let  us  all  sing  for  the  mother,"  giving  the  sign. 

Everybody,— "Sol." 

"  And  the  father,"  showing  the  fist. 

All  the  songsters,—  "  Do." 

"  Now  for  the  little  girl,"  stretching  out  the  hand. 

*•  Me,"  sound  the  pupils. 

"Stand!"  abruptly  commands  the  teacher.  "Raise  your 
arms  high  up  in  front,"  suiting  the  action  to  the  word. 
"  Hold  them !  Drop  them !  Once  more,  put  them  up  in  this 
way, "  raising  hers  slowly.  *  *  Hold !  Drop !  Sit !  Heads  up ! 
Shoulders  hack !  Lean  forward !  Here  is  a  new  song  I  have 
found  for  you.  This  is  the  way  it  goes. "  Holding  her  hands 
in  front,  and  taking  the  tip  of  the  little  finger  of  her  left 
hand  with  the  thumb  and  forefinger  of  her  right,  she  sings 
in  low  sweet  voice,  and  with  singularly  clear-cut  articula- 
tion, these  words; — 

•• '  This  little  bird  lived  in  a  tree ; ' " 

The  children  listen  with  happy  faces,  as  if  charmed. 
Catching  the  tip  of  the  ring  finger  next,  she  goes  on  ;— 

"  •  This  little  bird  sang,  full  of  glee; ' " 

taking  the  middle  finger,  she  continues ; — 

" '  This  little  bird  slept  In  her  nest;  *" 

then  touching  the  first  finger,  she  adds  with  some  signifi- 
cance ;— 

"  '  This  little  bird  loved  cherries  best,' " 


A    LESSON  IN  SINGING.  3 1  5 

and  concludes  with  the  thumb,  which  she  designates  thus ; — 

" '  This  little  bird  sang  chick-a-dee.    Chick-a-dee-dee ! ' " 

"Do  you  like  that?"  she  inquires,  as  her  last  blithe  notes 
die  upon  the  air. 

* '  Yes'm  I"    * '  Yes'm !"  is  the  delighted  chorus: 

"I  think  it's  just  lovely!"  exclaims  an  enthusiastic  little 
girl,  speaking  her  thought  straight  out. 

"I  am  glad  that  you  do,"  answers  the  smiling  teacher. 
"  I  thought  you  would.  Now  let  us  learn  it ;  hear  the  first 
line  again,"  singing  and  illustrating  with  her  finger, 

"  '  This  little  bird  lived  in  a  tree.'  " 

Which  one  was  that,  children?" 

"The  little  finger!" 

"Yes.  Hold  it  up  and  tell  me  about  it,  only  sing  it,  in- 
stead of  saying  it.  Ah1  together  with  me!"  and  they  sing 
the  line  in  concert. 

"  Listen  once  again, — 

4  This  little  bird  lived  in  a  tree; ' 

Sing !"  and  the  children  catch  up  the  strain. 

"It  is  my  turn  now,"  and  the  teacher  sings  once  more. 
"  You  may  sing."    They  do,  but  not  yet  with  expression. 
"  Talk  it  to  me.— What  about  this  little  bird?" 
"  It  lived  in  a  tree,"  affirms  the  class. 
"Yes.    Sing!" 

"  '  This  little  bird  lived  in  a  tree; ' " 

chorus  the  small  people,  as  if  they  meant  it. 
"Yes,  and,— 

This  little  bird  sang,  full  of  glee,'  " 

carols  the  teacher.     "What  is  it  to  be  full  of  glee?  who 
knows?"    Several  hands  rise.     "  Carrie." 
"To  be  happy." 


THE   "  QUINCY  METHODS"   ILLUSTRATED. 

"Yes.     Tommy." 

4 'To  be  jolly." 

"Perhaps.    Mary." 

4 -To  be  glad." 

"I  like  that  best.  This  little  bird  couldn't  talk ;  what 
could  it  do?" 

"  Sing !"  agree  the  class. 

"Wasn't  that  a  pretty  way  to  show  that  it  was  glad,  or 
full  of  glee?"  warbling  joyously, 

"  '  This  little  bird  sang,  full  of  glee; ' 

You  may  be  my  happy  little  birds,  and  sing  to  me ;— now !" 
Children,— blithely  and  sweetly — 

"  '  This  little  bird  sang,  full  of  glee; ' " 

"  Yes.    Sing  the  little  finger  again." 
The  pupils  all  by  themselves ; — 

"  '  This  little  bird  lived  in  a  tree.' " 

"  Now  the  next  one." 
Children's  chorus ; — 

"  4  This  little  bird  sang,  full  of  glee.1  " 

"That's  nice;  we  will  try  to  learn  the  rest  next  time. 
Sit  up  beautifully,  look  at  me  as  if  you  loved  me,  and  sing 
to  me  the  story  of  *  Charley  and  his  Kitty.'  " 

This  is  an  old  favorite,  and  the  class  starts  off  at  once, 
in  strong  and  full  chorus : 

"  '  Where  has  my  little  basket  gone? ' 
Said  Charlie  boy  one  day." 

"Wait!"  says  the  teacher.  "Jimmie,  what  did  Charley 
ask?" 

"  'Where  has  my  little  basket  gone? '  " 

"  Yes.  Play  that  you  are  Charley,  all  of  you,  and  that  I 
am  your  mother."  This  conceit  amuses  the  children,  who 
smile  quite  audibly  over  it.  ** Now  ask  me." 


A    LESSON  IN  SINGING.  317 

"  'Where  has  my  little  basket  gone?'  "  recites  everybody 
in  concert. 

"  I  don't  think  you  care  much  about  it,— do  you?" 

"  Yes'm!" 

"  Then  talk  as  if  you  did.    Ready !" 

It  is  given  with  quite  a  little  dramatic  force. 

"  That  is  better;  now  sing  it  as  if  you  did." 

The  pupils  render  the  line  so  expressively  that  the  teach- 
er signals  them  to  go  on,  which  they  do  by  adding, 

"'I  guess  some  little  boy  or  girl, 
Has  taken  it  away.'  " 

"I  think  you  are  not  singing  as  sweetly  as  some  little 
girls  and  boys  that  I  heard  a  few  moments  ago.  Begin—'  I 
guess,' — and  give  it  softly  this  time;"— which  they  do. 

"You  may  sing  on." 

'"And  kitty,  too,  where  has  she  gone? 
Oh  dear!  what  shall  I  do?  '  " 

"How  do  you  suppose  Charley  felt  when  he  said,  'Oh 
dear !  what  shaU  I  do? '" 

' '  Sorry !"     ' '  Cross !"     ' '  Bad !" 

"  I  think  he  felt  badly.    You  may  say  it  to  me." 

"Oh  dear!  what  shall  I  do?"  exclaim  the  class,  with  con- 
siderable feeling. 

"That's  better!    Sing." 

"  '  O  dear!  what  shall  I  do? '" 

chorus  the  children  almost  tragically. 
"Goon!" 

'"I  wish  I  could  my  basket  find, 
And  little  kitty  too." 

"What  kind  of  a  kitty  was  it,  class?" 
"Little." 

"I'd  like  to  hear  that,  a  -  little—"  with  emphatic  distinct- 
ness— "  plainer. " 


3 1 8       THE  ' '  Q  UINC  Y  ME  THODS"   IL  L  USTKA  TED. 

"Little!"  with  exaggerated  enunciation  and  emphasis. 
"Once  more." 
"Little!" 

"You  may  be  Charley  again,  and  say  to  me  what  you 
wish.  All  together!" 

"  '  I  wish  I  could  my  basket  find, 
And  little  kitty  too.'  " 

"Tell  me  in  singing."  This  brings  the  desired  result, 
being  sung  by  these  little  people  in  low  sweet  tones,  with 
distinct  articulation,  and  proper  expression. 

"That  pleases  me,"  cordially  declares  the  teacher. 
"Clarence,  I'd  like  to  have  you  go  and  get  your  cap. 
Annie  B.  may  get  her  hat  and  put  it  on.  Then  both  come 
here.  There  is  one  of  my  girls  that  I  cannot  see.  Has  she 
gone  home?" 

The  missing  maiden  raises  a  red  face  from  under  her 
desk,  and  does  not  again  become  invisible  during  the 
session.  By  the  time  this  reproof  has  been  administered, 
the  little  girl  summoned  to  the  front,  has  arrived  there 
with  her  hat  on,  and  the  boy,  cap  in  hand,  has  also  put  in 
an  appearance;  while  the  rest  of  the  class  are  waiting, 
wondering  what  next  is  going  to  happen. 

"Now  Clarence,  you  start  from  that  side  of  the  room; 
Annie  come  and  stand  over  here,"  placing  them  opposite 
each  other.  ' '  Play  that  this, "  indicating  the  vacant  space  in 
front  of  the  desks,  "is  Main  Street.  Clarence,  put  on  your 
cap;  you  are  coming  up  the  street,  and  Annie  is  going 
down.  Start  children,  and  don't  forget,  my  boy,  about 
your  cap." 

They  do  as  bidden,  but  do  not  show  their  usual  self- 
possession,  perhaps  because  of  the  novelty  of  the  affair,  and 
the  number  of  spectators ;  when  they  meet,  Clarence's  cap 
most  perversely  sticks  to  his  head,  then  both  become  em- 
barrassed, and  turn  to  the  same  side,  then  simultaneously 
each  turns  the  other  way,  when  the  teacher— deftly  inter- 


A   LESSON  IN  SINGING.  3!9 

posing  a  hand— pulls  the  boy  to  the  right,  and  they  manage 
to  get  past  each  other,  blushing  like  a  couple  of  old-fash- 
ioiied  pinks. 

"We  will  do  that  better  next  time,"  assures  the  teacher 
comfortingly.  "Both  hold  out  your  right  hands;"  they  do 
so.  "  Both  point  to  the  right ;— yes.  Now  when  you  meet, 
both  turn  to  the  right.  Boys,  what  does  a  gentleman  do, 
when  he  meets  any  one  that  he  knows  on  the  street?" 

Lusty  chorus :  "  He  takes  off  his  hat !" 

"  I  think  he  does.  Girls,  what  does  a  lady  do  when  any 
one  takes  off  his  hat  to  her?" 

' '  She  says,  '  Good-morning !  ' 

"  She  says,  '  How  do  you  do? ' ' 

"She  bows!" 

"Yes;  she  should  always  bow,  even  if  she  doesn't  speak. 
Now  Annie,  you  forgot  before.  I  know  you  won't  again. 
Start!" 

The  two  children  walk  along  in  rather  an  embarrassed 
manner,  until  they  meet,  when  Clarence  gets  his  cap  off 
with  a  jerk,  and  Annie  gives  him.  a  hasty  nod,  with  the 
side  of  her  head. 

"Who  else  wants  to  come  out  here?" 

Louise  and  Bennie  are  selected.  Having  profited  by  the 
experience  of  those  who  have  preceded  them,  these  succeed, 
at  the  first  trial;  that  is, — the  boy  gets  his  hat  off,  and  the 
girl  gives  him  a  nod  in  passing. 

Then  come  Fred  and  Eva.  Without  a  trace  of  either 
awkwardness  or  embarrassment,  Fred  walks  easily  across 
the  floor,  pauses  an  instant,  just  as  he  reaches  the  little 
maid,  and  lifts  his  hat  with  a  grace  which  all  the  masters  of 
deportment  could  not  improve  upon,  then  replacing  it  walks 
on.  Not  so  with  Eva.  She  is  a  shy  little  creature,  with  a 
delicate,  sensitive  face,  and  heavy  blue-veined  eyelids, 
which  she  finds  it  impossible  to  lift  when  she  meets  her 
comrade ;  so  with  a  slight  droop  of  her  golden  head,  and  a 


320       THE    "QUINCY  METHODS"   ILLUSTRATED. 

rosier  flush  on  her  fair  cheeks,  she  passes  on  down  the 
aisle,  to  her  seat. 

"Are  we  ready  for  recess?"  inquires  the  teacher. 

Of  course  they  are,  in  a  second  after  the  question  is  put, 
and  so  answer  briskly,  "  Yes'm !" 

* '  Last  row,  face !    Rise !    Pass !" 

Another  hint  has  been  given ;  more  ssed  dropped  into  the 
fruitful  soil  of  child-nature.  A  little— at  least— of  that 
which  is  sown  shall  spring  up ;  something  of  all  this,  must 
show  in  the  women  and  men  of  the  future. 


SECTION  SIXTH. 


CHAPTER 

I.  Preliminary. 
II.  A  Five-Minute  Lesson  upon  the  Cow. 

III.  A  Series  of  Plant  Lessons. 

IV.  Several  Lessons  in  Geography. 

V.  Beading. — A  Lesson  and  an  Exercise  in  Imitation, 
VI.  Language  Work. 
VII.  Two  Lessons  in  Number. 
VIII.  Penmanship.— A  Lesson  in  Tracing. 
IX.  A  Lesson  in  Spelling. 
X.  Drawing. — A  Lesson  in  Form. 
XI.  An  Exercise  in  Clay  Modelling. 


The  entire  work  of  the  Second  year  in  the  Primary 
School  is  presented  in  the  photographs  of  lessons 
found  in  Section  Sixth. 


CHAPTER   I. 

PRELIMINARY. 

THE  first  year  of  the  children's  life  at  school,  the  most 
momentous  and  the  most  critical  period  of  their  scholastic 
career,  is  over.  If  their  teacher  has  been  a  woman  of  high 
moral  character,  well-developed  intellect,  and  inspiring 
presence ;  possessed  of  true  ideals  and  a  great  love  for  chil- 
dren, she  has  been  well  fitted  for  her  work.  But  if  to  these 
gifts  and  graces,  she  has  added  scholarly  knowledge,  a  long, 
close  study  of  child-nature,  the  skill  of  experience,  and  that 
power  of  presentation,  commonly  called  "aptness  to  teach," 
her  work  has  been  well  done.  The  crucial  test  has  been 
successfully  passed,  and  the  following  points,  indicating 
various  phases  of  the  main  purpose, — character  building,-— 
have  been  gained : 

First.  The  transition  from  that  spontaneous  development 
secured  through  play,  to  the  more  conscious  growth  derived 
from  real  work,  has  been  happily  made. 
_  Second.  The  children  have  been  left  free  to  act,  as  far  as 
consistent  with  good  order,  and  thus  spontaneity — in  right 
ways — has  always  been  stimulated. 

Third.  They  have  received  a  year's  efficient  and  persis- 
tent training  in  good  habits. 

Fourth.  Their  childish  enthusiasm,  instead  of  being 
crushed  out,  has  been  considered  a  great  natural  force,  and 
used  to  good  purpose. 

Fifth.  The  little  ones  have  already,  quite  an  idea  of  taking 


324       THE   "  QUINCY  METHODS"   ILLUSTRATED. 

care  of  themselves;  in  other  words,  they  are  working  to- 
ward self-government. 

Sixth.  The  unintermittent  use  of  the  senses  in  the  ac- 
quisition of  knowledge  at  first  hand,  has  given  the  children 
an  impetus— most  valuable— toward  further  work  in  the 
same  direction, — i.e.,  observation. 

Seventh.  Every  advantage  has  been  taken  of  the  insatiable 
curiosity  of  youthful  minds — especially  regarding  natural 
objects — to  lead  the  pupils  to  discover,  and  investigate  for 
themselves. 

Eighth.  The  children  having  been  allowed  the  supreme 
delight  of  self-activity,  will  never  again  be  willing  to  forego 
that  pleasure,  or  be  likely  to  lose  the  strength  they  have 
gained  by  its  exercise. 

Ninth.  They  have  been  learning  to  think,  and  love  to  do 
so,  even  at  their  age. 

Tenth.  The  power  of  expression  has  been  developed  at  all 
times,  and  in  every  direction. 

Eleventh.  The  teacher,  having  held  steadily  through  all, 
and  above  all,  to  the  motive  of  mind  growth,  her  work  will 
show  corresponding  results  in  the  mental  development  of 
her  pupils. 

Twelfth.  In  brief,  it  has  been  a  year  of  all -sided,  and 
therefore  symmetrical  training  and  growth. 


ZOOLOGY,  BOTANY,  AND  GEOGRAPHY. 

The  first  three  chapters  of  this  Section  are  devoted  to  illus- 
trations of  second -year  teaching  in  elementary  natural 
science.  These  lessons  are  simply  continuations  of  the  work 
begun  during  the  weeks  which  preceded  Reading,  at  the 
very  beginning  of  the  previous  year. 

The  importance  of  Natural  Science  study  is  being  admit- 
ted on  all  sides,  but  as  a  general  thing,  the  work  is  relegated 
to  the  higher  grades  of  the  grammar  school.  This  is  not 


PRELIM  IN  A  R  Y.  325 

only  a  mistake,  but  a  great  extravagance,  because  it  involves 
a  waste  of  power.  At  no  later  stage  of  the  pupil's  develop- 
ment, will  they  enter  into  the  study  of  nature  with  half  so 
keen  a  zest;  at  no  other  time,  will  the  teacher  have  the 
impetus  of  natural  desire  so  fully  in  her  favor ;  and  never 
again  will  the  senses  be  so  alive,  the  observation  so  keen 
and  fresh,  as  now.  For,  next  to  themselves,  little  children 
love  animals,  and  scarcely  less  in  degree  is  their  interest  in 
growing  things,  while  their  joy  in  the 

"Great,  wide,  beautiful,  wonderful  world," 

is  a  marvellous  thing  to  see. 

The  lessons  photographed,  are  essentially  elementary  in 
character,  and  are  intended  not  so  much  to  teach  the  pupils 
that  which  is  novel  and  striking,  as  to  train  them  to  study 
more  closely,  the  objects  with  which  they  are  already 
familiar.  These  lessons  do  not  consist  in  memorizing 
a  vocabulary  of  strange  words,  to  lumber  the  children's 
brains,  and  bewilder  their  minds,  but  are  designed  to  bring 
about  comparison,  prepare  for  classification,  and  lead  to 
clear  and  logical  thinking.  Child-like  in  presentation,  and 
seemingly  not  learned  in  substance,  this  foundation  work 
may  appear  to  the  unthinking,  or  hasty  observer,  so  simple 
as  to  be  insignificant :  nevertheless,  it  is  the  small  beginning 
of  great  things,  since  it  places  in  their  little  hands,  the  clue 
which  will  guide  them  through  the  grand  labyrinth  of 
science,  and  lead  them  to  discover  the  secrets  of  Nature 
herself. 

READING. 

In  his  "Talks  on  Teaching,"  Col.  Parker  states  that  "the 
process  of  learning  to  read,  consists  in  learning  a  vocabulary 
of  written  or  printed  words."  Again  he  says,  "a  word  is 
known,  only  when  it  recalls  its  appropriate  idea."  In 
order  to  recall  an  idea,  it  must  be  associated  with 


326      THE   "QUINCY  METHODS"  ILLUSTRATED. 

an  idea.  The  association  of  spoken  words  with  ideas 
has  been  going  on  for  some  years  when  the  children 
enter  school,  and  the  first  work  of  the  teacher  is  to 
strengthen  those  associations,  already  formed,  by  presenting 
them  in  new  relations.  This  she  does  by  means  of  a  long 
series  of  systematic  and  varied  language  lessons,  which  pre- 
cede, and  prepare  the  way  for  the  next  work  of  the  teacher, 
viz. :  Reading. 

Here  she  seeks  to  make  a  new  association, — that  of  the 
written  word  with  the  idea,  and  also  with  the  oral  word. 
Beginning  with  the  familiar  and  favorite  words  of  the 
children,  she  stimulates  the  act  of  association  by  intro- 
ducing the  object,  its  representation,  or  the  oral  word 
when  the  written  form  is  presented.  Thus  the  written  word 
is  associated  with  the  idea,  and  also  with  the  oral  word,  by 
the  fact  that  these  are  brought  together  in  the  conscious- 
ness of  the  children  at  the  same  time.  If  this  act  be  suffi- 
ciently intense,  this  single  act,  through  the  operation  of  the 
marvellous  law  of  association,  has  bound  these  things  to- 
gether forever:  i.e.  one  will  always— must  always — recall 
the  other. 

After  the  pupils  have  learned  a  few  written  words, 
still  another  force  is  brought  to  bear  upon  the  act  of 
association,  to  wit;  the  stimulus  of  ideas  in  their  relation, 
as  expressed  by  the  sentence.  Meanwhile,  as  a  means 
of  training  in  articulation,  and  to  assist  the  children  in 
their  learning  of  new  words,  many  of  the  teachers  bring 
in,  all  along,  the  daily  drill  in  phonics.  Later  on,  when  the 
little  ones,  having  acquired  a  vocabulary  of  about  two  hun- 
dred written  words,  can  grasp  the  thought  expressed  in  long 
sentences,  instantly,  the  association  of  the  thought  with  the 
script  form  is  readily  transferred— with  all  the  power  gained 
by  these  months  of  previous  practice— to  the  printed  words ; 
and  the  children  are  ready  to  read  from  books,  and  to  do 
it  well. 


PRELIM  IN  A  RY.  327 

One  thing  besides  the  words,  the  children  needs  must 
learn,— the  idioms.  But  the  teaching  of  these,  forms  no 
part  of  the  teaching  of  Reading;  it  belongs  to  the  work  in 
Language.  Hence  the  necessity  for  preliminary  language 
lessons,  to  familiarize  the  pupils — especially  the  children  of 
the  ignorant  and  of  foreigners— with  such  idiomatic  arrange- 
ments of  words  as  are  common  to  written  language. 

As  to  expression,  that  the  children  have  already.  Let  the 
teachers  of  these  little  ones,  beware  how  they  tamper  with  so 
divine  a  gift !  Exceptions  to  all  rules  there  are,  and  to  this 
also.  When  such  occur,  either  through  disease,  inherited 
defects,  or  bad  examples  at  home,  special  drill  apart  from 
all  expression  of  thought,  is  always  helpful  and  in  order. 
The  Imitation  Exercises  are  to  hold  up  the  ideal  in  expres- 
sion to  the  pupils.  If  their  ideal— and  the  teacher  stands 
for  that— is  imperfect,  what  will  their  attainment  be? 

LANGUAGE. 

**  A  word  has  but  one  use,  and  that  is  to  recall  its  appro- 
priate idea."  This  postulate  of  Col.  Parker's  needs  no  proof; 
its  truth  is  self-evident.  Yet  admit  the  statement  as  a  fact, 
and  the  great  mass  of  language  teaching  now  done,  is  value- 
less, because  it  is  the  teaching  of  words  apart  from  ideas. 
Back  of  all  work  in  language,  should  lie  its  motive  and 
stimulus, — the  thought. 

At  first,  the  teacher  seeks  not  so  much  to  present  to  the 
children  new  objects  of  thought,  as  to  strengthen  their  grasp 
upon  what  they  have  already  gained.  Similarly  in  the  mat- 
ter of  expression,  she  aims  more  to  train  her  pupils  in  differ- 
ent arrangements  of  words  (idioms)  previously  known,  than 
to  add  to  their  stock  in  hand.  This  idiom  work,  which  is 
mainly  a  matter  of  unconscious  imitation  on  the  part  of  the 
children,  is  not  confined  to  the  regular  lessons  in  language, 
but  began  with  the  first  sentence  the  teacher  uttered  in 


328      THE    "QUnVCY  METHODS"  ILLUSTRATED. 

their  hearing,  furnished  the  leading  purpose  of  the  six 
weeks  of  conversational  lessons  prior  to  Reading,  and  has 
been  continued  in  every  exercise,  and  at  all  times  ever 
since. 

When  the  teacher  has  succeeded  in  getting  the  children  to 
talk  freely,  she  enters  upon  the  training  in  expression.  For 
one  thing,  she  now  endeavors  to  hold  them  steadily  to 
the  subject  under  discussion,  and  sets  about  correcting 
judiciously,  erroneous  language.  Another  thread  of  the 
web  picked  up  about  this  time,  is  the  training  in  observa- 
tion, for  which  the  preceding  exercise  of  their  observing 
faculties  has  prepared  them.  This  last  is  absolutely  essen- 
tial, for  without  it,  all  ulterior  language  work  will  be  loose, 
weak,  and  inaccurate. 

Having  in  these  ways  gained  the  material  for  thought, 
the  teaching  in  expression  is  the  next  thing  to  be  taken  in 
hand,  and  concerning  this  a  word  of  warning  will  suffice. 
While  it  may  not  be  objectionable  to  make  the  training  in 
expression  conscious  work,  all  teaching  of  expression  should 
— as  far  as  possible — be  unconscious. 

NUMBER. 

Having  been  thoroughly  trained  during  the  first  year  in 
concrete  Number  work,  the  pupils  are  now  taught  the  use 
of  figures.  Besides  the  learning  of  this  new  language  (fig- 
ures) the  children  deal,  of  course,  with  larger  numbers, 
ranging  in  this  grade  from  ten  to  twenty,  and  often  reach- 
ing twenty-five.  During  all  this  time  the  pupils  are  given 
objects,  at  first,  but  as  soon  as  power  is  gained  to  think  of 
them  when  not  present,  the  objects  are  no  longer  used. 
With  the  exceptions  just  stated,  the  work  does  not  differ 
from  that  done  the  previous  year.  In  fact,  there  are  no 
new  processes  to  be  taught,  after  the  proper  teaching  of  the 
number  eight. 


PR  EL IMINA  RY.  3  2  9 


SPELLING. 

The  work  in  Spelling  is  peculiar,  in  one  respect ; — having 
progressed  beyond  the  writing  of  single  words,  it  consists 
entirely  of  the  writing  of  sentences,  instead  of  the  oral 
naming  of  the  letters  of  words ;  which  means  —it  is  probably 
unnecessary  to  state — that  the  old-fashioned  spelling-book, 
is  a  terror  unknown  to  the  pupils  of  the  Quincy  Schools. 


CHAPTER  II. 

A  FIVE  MINUTE  LESSON  UPON  THE  COW. 

PURPOSE  OF  THE  LESSON.—  Especially,  to  interest  the  parents 
in  the  school,  and  at  the  same  time,  to  lead  the  children 
toward  the  study  of  Zoology. 

PREPARATION  MADE  BY  THE  TEACHER.  —  Devising  how  this 
can  be  accomplished,  and  reviewing  mentally  the  differ- 
ences between  the  commoner  animals,  besides  giving  some 
considerable  study  to  the  cow,  and  its  uses. 

PREPARATION  MADE  BY  THE  PUPILS.—  Every  time  they  really 
saw  the  animal,  and  all  that  they  have  gained  through  the 
interest  they  take  in  the  subject. 

PLAN  OF  THE  LESSON.—  Ask  the  children  on  Friday,  to  find 
out  from  their  mothers  and  fathers,  all  about  the  cow,  and 
its  uses;  and  be  ready  on  Monday  to  tell  what  they  have 
learned.  Open  the  exercise  in  some  ingenious  way,  which 
will  arouse  enthusiasm  at  the  very  beginning,  then  call  upon 
a  child  to  describe  the  cow.  Follow  him  closely,  in  order  to 
be  able  to  suggest  some  other  animal,  that  his  description 
will  fit.  Do  this  until  the  pupils  have  made  a  fair  delinea- 
tion. Then  ask  what  the  cow  is  good  for,  and  if  they  omit 
anything,  refer  them  to  their  parents  for  information. 

THE  LESSON. 

Time.  Five  minutes  of  nine  o'clock  on  a  Monday  morn- 
ing in  January. 

Place.  The  C  Primary  room  in  the  Black  well  School,  in 
Quincy. 


A  FIVE  MINUTE  LESSON   UPON   THE   COW.    331 

People.  The  teacher,  and  fifty  little  pupils— between  the 
ages  of  six  and  eight  years,  belonging  to  several  different 
nationalities,  and  coming  from  homes  of  "all  sorts  and 
conditions." 

The  teacher  begins.     "Good-morning,  children!" 

"  Good-morning,  Miss  D,"  call  back  the  little  ones. 

"  There  was  something  you  were  going  to  ask  your  moth- 
ers and  fathers  about." 

It  is  a  statement,  rather  than  a  question,  and  delivered 
with  the  greatest  repose  of  manner;  but  notwithstanding,  it 
has  started  the  mental  machinery,  and  hands  are  being 
flung  up  on  every  side. 

"You  were  going  to  find  out "  —  proceeds  the  quiet 
speaker,  calmly  observant  of  the  effect  of  her  words— 
"something  about  it." 

Every  arm  is  raised,  every  hand  fluttering  eagerly ;  but 
the  teacher  utters  tranquilly,  her  third  annonncement. 

"You  were  going  to  try,  to  find  something  to  tell  me 
about  it,  that  I  never  heard  of  before." 

The  outstretched  arms  have  apparently,  by  this  time, 
pulled  the  children  up  off  their  seats,  and  the  room  bristles 
with  five  rows  of  wildly  waving  members. 

"  What  was  it,  Oscar  ?" 

The  little  fellow  called  upon,  springs  to  his  feet  as  if 
moved  by  clock-work,  stands  perfectly  straight  with  arms 
at  his  side,  and  answers  briefly,  "  A  cow." 

As  the  boy  still  stands,  soldier-like  and  expectant,  the 
teacher  continues,  "  Do  you  know  anything  about  it  ?" 

"Yes'm,"  is  the  laconic  response,  waiting  as  before  for 
leave  to  go  on. 

Amused  at  his  odd  persistency  and  willing  to  humor  it 
this  time,  the  teacher  says  :— "Now  Oscar,  suppose  that  I 
never  had  seen  one;  can  you  tell  me  how  a  cow  looks,  so 
that  I  should  know  one  when  I  met  it  ?" 

"  Yes'm,"  comes  again,  as  prompt  as  a  bullet. 


332      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"  Very  well,"  says  the  teacher,  smiling  in  spite  of  herself; 
"  you  may  try." 

"She  has  four  feet,"  asserts  the  sturdy  little  fellow; 
"  and  a  head,"  nodding  his  own,  at  each  fresh  enumeration; 
"  and  two  ears,  and  two  eyes,  and  two  horns,  and  a  body.'' 
Here  he  comes  to  a  stand-still,  mental  as  well  as  physical, 
for  he  doesn't  offer  to  sit,  but  seems  to  be  going  over  again 
— in  his  mind — the  parts  of  the  animal  being  described. 

" Well,—  that's  a  goat,  isn't  it?"  demurely  observes  the 
teacher. 

Several  laugh  out  at  this,  but  Oscar  answers,  as  serious 
and  straightforward  as  ever,  "No  ma'am;  she  has  a  long 
tail,  and  a  goat  hasn't." 

"That  will  do,"  dismissing  him  with  a  gesture.  "Now 
I'd  like  to  have  somebody  else  tell  me  about  the  cow,  so 
that  I  shall  know  when  I  come  across  one.  Margie." 

The  little  girl  addressed,  gives  her  curly  head  a  toss  that 
sends  the  ringlets  flying,  as  she  steps  into  the  aisle  and 
starts  off  glibly,"  The  cow  has  a  large  head  and  two  horns, 
and  two  ears,  and  two  eyes,  and  a  nose,  and  a  body,  and  a 
long  tail,"— here  she  pauses,  when  suddenly  recollecting,  she 
adds,  "and  four  legs,  and— O  1  and  two  toes  on  each  foot," 
then  drops  into  her  seat  with  an  air  of  having  said  all  that 
there  is  to  say. 

"If  it  wasn't  for  the  horns,"  is  the  teacher's  criticism  ; 
"I  might  think  that  was  a  pig,  Margie." 

The  small  maiden  fails  to  see  the  point  of  that  joke,  and 
turns  toward  the  next  pupil  called  upon,  as  if  it  had  just 
occurred  to  her,  that  possibly  she  might  learn  something 
further  about  the  cow. 

Lina  now  takes  the  floor  to  affirm  that— "It  is  larger 
than  a  pig— 

"  How  large  ?"  is  the  teacher's  quick  query. 

"About  as  tall  as— your  head,"  judges  Lina,  considering 
the  matter,  as  she  talks. 


A   FIVE  MINUTE  LESSON   UPON    THE    COW.    333 

"Go  on,"  urges  the  teacher. 

"And  it  has  a  straight  back,  and  two  horns,  and  two 
ears,  and  a  large  nose,"  continues  Lina,  evidently  following 
down  the  front  of  the  head  of  her  imaginary  cow;  "  and  it 
has, — a  dewlap,"  after  a  little  pause  to  see  what  next; 
"and  four  legs,  and  two  toes  on  each  foot." 

"I  think,"  decides  the  teacher  deliberately;  "that  I 
might  know  a  cow  now,  if  I  was  told  what  color  it  was." 

"Some  cows  are  red,"  declares  the  first  speaker. 

"  Some  are  black,"  asserts  a  second. 

"Our  cow  is  red  and  white,"  remarks  the  third. 

"I've  seen  one  almost  white,"  is  the  contribution  of  a 
fourth. 

"Mr.  S.  has  one  that  looks  brown,"  insists  the  fifth,  in 
the  manner  of  one  who  expects  to  be  contradicted. 

"You  have  given  me  an  idea  of  how  the  cow  looks;  but 
you  haven't  told  me  what  the  cow  is  good  for.  Jennie." 

"  Good  to  give  us  milk." 

"George." 

"  Good  to  make  meat." 

"What  do  we  call  the  meat  that  we  get  from  the  cow," 
is  the  teacher's  next  question. 

"  Beef!"  is  the  unanimous  decision. 

"What  is  it,  Mattie  ?" 

"  The  cow's  skin  is  good  to  make  leather." 

"Arthur." 

"  The  hair  on  her  skin  is  put  into  plastering." 

"Henry." 

"  They  get  glue  out  of  her  feet." 

"My  mother  said,"  speaks  out  a  child  impulsively,  "  that 
they  make  jelly  out  of  a  cow's  feet." 

"My  father  told  me, "reports  the  son  of  a  butcher,  "that 
the  legs  are  good  to  make  soup  of." 

"I  found  out  that  people  make  combs  out  of  her  horns," 
notifies  another  little  learner. 


334      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"They  make  buttons  out  of  her  horns,"  emphatically  de- 
clares a  small  boy,  with  a  look  of  defiance  at  the  previous 
speaker. 

"Yes,  they  make  both  combs  and  buttons  out  of  the 
horns  of  some  kinds  of  cattle,"  pacifically  interposes  the 
teacher. 

"  I  saw  a  cow's  horn  that  they  kept  powder  in,"  exclaims 
an  eager  youngster. 

"And  I  saw,"  reports  the  teacher,  adding  her  quota  of 
knowledge;  "  a  sofa,  and  a  chair,  with  horns  for  the  backs, 
arms,  and  legs." 

This  astonishing  statement  opens  their  eyes  a  little  wider 
than  usual  for  a  moment,  then  one  more  hand  being  raised, 
the  teacher  calls  upon  the  owner,  who  says,  "  We  boil  their 
tongues;"  and  that  seems  to  be  the  end  of  their  knowledge 
on  the  matter  of  utility. 

"There  is  one  part  that  you  haven't  told  me  anything 
about,"  announces  the  teacher;  "no  one  seems  to  have 
thought  of  it,  and  yet  it  is  very  useful,"  she  adds  impres- 
sively. "What  is  it?" 

All  the  small  foreheads  are  full  of  wrinkles;  all  the 
young  minds  are  in  a  quandary,  over  this  unknown  or  mys- 
terious portion  of  the  cow's  anatomy. 

"You  told  me,"  specifies  the  teacher;  "of  its  horns,  its 
hoofs,  its  hair,  its  skin,  its  meat ;  but  you  haven't  said  any- 
thing about  its, — "  here  she  halts  an  instant's  space,  as  if  to 
tantalize  the  curious  little  people,  and  then  says,  "  bones." 

There  is  a  low  murmur,  as  of  surprise,  when  she  utters 
the  word,  but  not  a  hand  is  raised. 

"Did  anybody  find  out  at  home,  what  the  bones  arc 
good  for?"  inquires  the  teacher,  well  knowing  that  if  they 
had,  they  would  not  have  kept  their  information  to  them- 
selves. 

The  children  look  from  one  to  another,  but  no  one  speaks. 

"Then  you  may  ask  your  mothers  and  fathers  about  the 


A   FIVE   MINUTE  LESSON    UPON    THE   COW.    335 

cow's  bones  to-night ;  and  I  shall  expect  you  to  be  able  to 
tell  me  what  they  are  good  for,  to-morrow." 

Thus  the  children  are  given  some  bones  to  take  home  and 
gnaw  upon,  and  thus  the  lesson  ends;  for  now  the  gong 
strikes  for  school  to  open  and  the  devotional  exercises  at 
once  begin. 

Notes  and  Comments. 

Every  strand  of  interest — however  slender — stretched  be- 
tween school  and  home,  helps  to  weave  the  cable  that 
should  bind  together,  those  who  live  "for"  and  "  with  the 
children,"— the  parents  and  the  teacher. 


CHAPTER  III. 

A  SERIES  OF  PLANT  LESSONS. 

ONE  morning,  immediately  after  the  devotional  exercises^ 
the  teacher,  of  a  certain  school,  directing  her  attention  to 
a  little  blind  boy  who  is  a  member  of  her  class,  says, 
"  Charley,  come  to  me." 

Every  eye  is  fixed  upon  the  child,  as  he  passes  to  the 
teacher's  table  in  the  front  part  of  the  room. 

44  What  are  these?"  is  her  next  demand,  slipping  into  his 
hand  something  which  the  curious  little  ones  cannot  see. 

4k  Beans!"  is  his  almost  instant  decision. 

44  Hold  them  up  so  that  the  class  can  look  at  them.  Is  he 
right,  children?" 

44  Yes'ni!"  is  the  full  chorus. 

44  Tell  him  what  color  they  are." 

4  4  White  and  black !"  4  4  Some  are  white,  and  some  black  1" 
44  They  are  black  and  white !"  are  the  varying  answers. 

"  I  can  see  some  spots  on  the  white  ones,"  asserts  a  child 
who  sits  nearest  to  the  boy  with  the  beans. 

44  What  color  are  the  spots,  Fred?" 

"Purple." 

44  Tell  us  what  shape  the  beans  are,  Charley." 

44  Something  like  an  egg." 

44  What  are  beans  good  for,  class?" 
4 To  eat!" 
4  Where  do  we  get  them?" 

44  Out  of  the  ground  1"     44  They  grow  I" 


A    SERIES  OF  PLANT  LESSONS.  337 

"What  is  this,  Charley?"  asks  the  teacher,  taking  a 
tumbler  from  her  tahle,  and  putting  it  into  the  blind  boy's 
hands,  as  he  stands  beside  her. 

The  supple  fingers  grasp  the  object,  handle  it  an  instant, 
and  the  answer  comes,— "A  tumbler." 

"  We  will  place  it  here,"  moving  the  hands  with  the 
tumbler  in  them  to  her  table.  "Children,  you  may  tell 
Charley  what  this  looks  like,"  picking  up  a  pitcher,  and 
pouring  a  clear  liquid  from  it  into  the  glass. 

"Water!" 

"Ye$,  and  that  is  what  it  is.  Charley,  put  your  beans 
into  the  water,"  guiding  his  hand  to  the  tumbler,  while  all 
the  other  pupils  look  on.  "What  have  I  given  you  now?" 
putting  a  small  box  into  his  hand. 

"More  beans,"  declares  the  child  after  a  second's  ex- 
amination. 

"Yes;  put  those  into  the  water  too.— Now  you  may  go 
back  to  your  seat.  Who  will  tell  me  in  a  nice  sentence 
what  he  did?  Josie." 

"  Charley  put  some  beans  into  a  tumbler  of  water." 

"Here  are  some  little  books  that  I  have  made  for  you," 
announces  the  teacher,  bringing  out  from  her  desk  a  pile  of 
miniature  blank-books,  consisting  of  sheets  of  manilla  paper 
folded,  and  sewed.  "I  thought  you  might  like  to  write 
down  some  things  that  we  see.  How  many  would?" 

There  isn't  an  arm  that  fails  to  go  up,  on  the  instant. 

"Very  well.  Katie,  John,  Sophia,  Mary,  and  Sammy 
may  come  here,  count  out  enough  of  these  for  their  rows, 
and  place  them  on  the  desks  as  fast  as  they  can.  At  the 
same  time,  the  five  little  people  who  sit  last  in  each  row, 
may  give  out  the  lead-pencils." 

When  this  has  been  accomplished,  the  teacher  says,  "  We 
will  each  write  our  name  on  the  outside  of  our  new  book, 
and  we  want  to  have  it  in  our  very  best  handwriting,  so 
that  we  shall  not  be  ashamed  to  have  any  one  see  it. 


33$      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

When  we  have  written  it,  we  will  lay  down  our  pencil,  sit 
up  very  straight,  and  fold  our  hands." 

It  does  not  take  long  to  do  this,  even  as  it  is  done, — with 
great  pains, — and  the  children  are  soon  sitting  as  requested. 

"What  day  of  the  week  is  this?"  is  the  teacher's  ques- 
tion, as  she  steps  to  the  blackboard,  and  provides  herself 
with  a  crayon. 

"  Wednesday!"  comes  in  quick  concert. 

This  the  teacher  writes  high  up  on  the  board,  in  admir- 
able chirography. 

"  What  month,  and  what  day  of  the  month?"  is  her  next 
interrogatory. 

"  March  fifteenth,"  is  the  answer. 

' '  I  don't  care  to  take  the  trouble  to  write  all  that ;  what 
can  I  do?  Hattie." 

"Write  it  this  way,"  instructs  the  child,  putting  the 
abbreviated  form,  Mar.  15.,  upon  the  board,  without  hesita- 
tion. 

"Is  she  right,  class?" 

"Yes'm." 

"  Very  well,"  copying  it  on  a  line  with  the  word  "  Wed- 
nesday." "What  year  is  this?" 

"Eighteen  eighty -two." 

The  teacher  adds  that  also. 

"Read  what  I  have  written." 

"Wednesday,  March  fifteen,  eighteen  eighty-two,"  comes 
in  deliberate  concert. 

"  What  do  we  call  that?" 

"The  date!" 

"Let  us  place  the  date  in  our  little  books,  at  the  head  of 
the  first  page,  and  be  sure  not  to  forget— what?" 

"  The  periods  and  commas." 

"Where  is  the  first  period,  Amy?" 

"AfterM-a-r." 

"  Where  is  the  first  comma,  Patrick?" 


A    SERIES  OF  PLANT  LESSONS.  339 

"After  Wednesday." 

"  The  second  period,  Guy?" 

"At  the  end  of  all." 

"  The  second  comma,  Ellen?" 

"After  fifteen." 

' '  Each  pick  up  your  book,  open  it  at  the  first  page,  fold 
back  the  cover  so  that  it  will  lie  flat ;  take  your  pencil  and 
write." 

The  room  is  full  of  writers  in  a  second,  while  the  teacher 
passes  through  the  aisles,  rapidly  glancing  right  and  left, 
to  see  how  the  work  is  being  done. 

When  the  hands  are  all  folded  again,  to  show  that  the 
date  has  been  written,  the  teacher  turns  to  Josie  and  says, 
"  Tell  us  now,  what  you  told  us  before." 

He  repeats:  "Charley  put  some  beans  in  a  tumbler  of 
water." 

< '  When  did  this  happen  ?    Hands !" 

They  are  all  raised,  and  calling  upon  one  after  another  in 
quick  succession,  the  teacher  gets,  "Just  now!"  "This 
morning !"  "A  few  minutes  ago !"  "  To-day !" 

"  I  like  the  last  best.  Now  put  that  with  Josie's  sentence, 
and  we  have,— Ada?" 

"  Charley  put  some  beans  in  a  tumbler  of  water,  to-day." 

"  Who  can  place  these  words  in  some  other  way?    Fred." 

"  To-day,  Charley  put  some  beans  in  a  tumbler  of  water." 

"That  pleases  me  better.  I  will  write  it  here  [on  the 
board],  and  you  may  write  it  in  your  books,  just  below  the 
date." 

While  this  is  being  carefully  done,  the  teacher  having 
finished  her  sentence,  is  examining  theirs. 

"Bennie  is  writing  his  beautifully,"  is  the  encouraging 
comment,  after  a  look  at  one  book.  "  I  hope  no  one  will 
leave  out  any  of  the  little  points  we  have  to  think  so  much 
about." 

"I  know  what  she  means,"  remarks  a  boy  in  an  under- 


34°      THE   "  Q_UINCY  METHODS"   ILLUSTRATED. 

tone,  without  raising  his  eyes  from  the  paper ;  ' '  periods  and 
things." 

"Yes.  When  you  have  finished,  lay  your  pencils  down, 
close  your  books,  lay  them  on  the  right  hand  corner  of  your 
desks,  sit  up  like  little  ladies  and  gentlemen,  and  wait. 
Those  at  the  head  of  the  rows,  may  gather  the  books  and 
bring  them  to  my  table,  when  every  one  is  in  position; 
those  who  gave  out  the  pencils,  may  take  them  up,  and  put 
them  where  they  belong.  I  am  going  to  place  this  tum- 
bler, which  has  the  beans  and  water  in  it,  here ;"  setting  it 
upon  a  window-sill.  "We  will  see  how  it  looks  tomor- 
row." 

Thus  ends  the  first  lesson  of  this  series. 

The  ensuing  day,  the  pupils  have  a  similar  exercise, 
during  which  they  write  on  the  second  page  of  their  little 
books, 

"THURSDAY,  Mar.  16.— The  beans  begin  to  swell.  They  take  up  more  room. 
The  water  Is  rising." 

The  day  following,  as  the  result  of  their  investigation,  is 
written  this : 

"  FRIDAY,  Mar.  17.— The  water  is  colored.  It  does  not  look  clear.  The  black 
beans  have  changed.  They  look  brown  now." 

The  next  entry  made  in  their  plant  diaries  runs  thus: 

"WEDNBSDAY,  Mar.  22. — There  are  not  as  many  beans  in  the  tumbler.  Wr 
took  some  out,  and  put  them  in  a  box  of  earth.  We  planted  them." 

Then  comes  a  blank  space,  followed  by  this  explanation 
under  the  date  of — 

"  TUESDAY,  April  18.— We  were  not  at  school  for  two  weeks,  so  we  could 
not  see  what  to  write.  We  planted  the  beans  quite  a  while  ago,  and  now  we 
are  going  to  talk,  and  write  about  them.  One  of  the  beans  has  sprouted. 
There  is  a  l>ean  on  the  top  of  a  stem.  Some  are  growing  tall.  You  can  see 
leaves  coming  out.  We  let  our  last  beans  stay  too  long  in  the  water." 


A    LESSOR   UPON    THE   BEAN  PLANT.  341 

The  closing  sentence  becomes  {significant  when  taken  in 
connection  with  the  succeeding  report  of  this  youthful 
society  of  bean-growers,  which  runs  as  follows : 

"  Thursday  afternoon  about  three  o'clock  Miss  D.  told  Jack  E to  get  a 

goblet  half  full  of  water,  and  a  tumbler  too.  She  took  a  paper  bag  up  off  the 
desk,  and  took  some  beans  out  of  it,  and  put  some  of  them  in  the  goblet,  and 
the  rest  in  the  tumbler.  She  let  them  stay  in  the  water  a  short  time.  Then  she 
told  Blanche  to  take  two  or  three  of  each  kind,  and  plant  them  here  and  there 
in  the  box  of  earth." 

The  subsequent  account  of  proceedings  is  taken  from  the 
teacher's  notes  of  Friday,  "  Asked  the  children  to  put  some 
beans  in  water,  yesterday;  afterward  planted  a  few,  and 
left  the  rest  to  soak.  To-day,  distributed  the  soaked  beans 
among  the  class,  for  examination.  Had  the  pupils  re- 
move the  seed-coats  in  order  that  they  might  observe  the 
embryo.  Led  them  to  open  the  cotyledons  and  find  the 
germinating  plantlet.  We  called  it  the  baby  plant.  At  the 
close  of  the  observation  lesson,  gave  the  children  pencils 
and  paper ;  and  told  them  to  sketch  carefully,  first,  the  bean 
(giving  them  whole  ones  for  this  purpose),  then  each  half, — 
showing  the  rudimentary  plumule, — for  Busy -Work  during 
the  next  period." 

Two  weeks  later  came  a  lesson  which  is  here  transcribed 
in  fuU. 


A  LESSON  UPON  THE  BEAN  PLANT. 

PURPOSE  OF  THE  LESSON.— To  interest  the  pupils  in  plant 
life. 

PREPARATION  MADE  BY  THE  TEACHER.— General.  All  that  she 
knew  of  the  growth  of  the  plant  from  the  seed. 

Special.  Preparing  the  illustrations,  viz. :  the  soaked 
beans,  and  the  bean  plant  at  different  stages  of  develop- 
ment; and  deciding  the  manner  of  gaining  the  facts  dis- 
covered, from  the  children. 


342       THE  "  QUINCY  METHODS"  ILLUSTRATED. 

PREPARATION  MADE  BY  THE  PVP/LS.—The  points  concerning 
plant  life  already  known,  and  whatever  p$>wer  of  observa- 
tion they  possess. 

PLAN  OF  THE  LESSON.— First.  Have  a  march  to  rest  the 
Children. 

Second.  Call  upon  two  boys  to  bring  my  bean  garden  to 
the  front  of  the  room. 

Third.  Find  out  whether  the  pupils  know  and  use  the 
name, — bean  plant. 

Fourth.  Review  rapidly,  what  has  been  done,  and  the 
results,  as  seen  in  the  growth  of  the  plant. 

Fifth.  Dig  up  plants,  and  arrange  them  in  order  upon  the 
box,  to  show  every  stage  of  development ;  have  the  children 
file  past  these  slowly  to  observe. 

Sixth.  Call  upon  the  pupils  to  tell  what  they  saw. 

Seventh.  Close  by  drawing  their  attention  to  that  myste- 
rious law  of  growth,— the  ascending  and  descending  axis. 


THE   LESSON. 

It  is  late  in  the  afternoon,  and  all  of  the  reading,  writing, 
and  number  lessons  have  been  given.  The  little  ones  are 
tired,  and  somewhat  restless. 

"John,  will  you  please  open  the  window  behind  you,  as 
wide  as  you  can?  Patsy,  the  one  back  of  you?  Henry,  the 
one  by  the  platform?  Mary  may  fasten  the  door  back. 
SMI nmy  and  George,  take  your  places,  and  we  will  have  a 
short  march." 

All  of  these  orders  are  promptly  obeyed.  The  breeze- 
fresh  from  the  water  —sweeps  through  the  room ;  the  chil- 
dren lay  down  their  pencils,  push  back  their  slates,  and  sit 
ready  to  spring  into  their  places  in  the  aisles,  while  two 
little  boys  taking  some  odd-looking  brown  sticks  out  of 
their  desks,  pass  to  the  front,  and  mount  the  small  low 
platform,  out  of  the  draught  and  out  of  the  way.  Deftly 


A   LESSON   UPON   THE  BEAN  PLANT.  343 

adjusting  the  mysterious  articles  just  mentioned,  between 
their  fingers,  they  turn  and  face  their  comrades,  with  the 
seriousness  and  dignity  of  judges. 

"  Katie  may  be  captain  to-day.    All  ready !" 

The  class  are  on  their  feet.  Lifting  a  triangle  from  her 
table,  the  teacher  slips  the  ribbon,  by  which  it  hangs  sus- 
pended, over  her  finger  and  steps  out  where  the  small 
musicians  can  see  her  rod.  As  it  falls  they  give  their  hands 
a  flutter  and  a  jerk,  the  triangle  tinkles,  the  clappers  rattle, 
and  the  class  step  off  briskly,  just  in  time  to  the  odd  music ; 
marching  around  the  room,  through  the  aisles,  weaving  in 
and  out,  following  gayly,  wherever  their  girl-captain  leads. 

"That  will  do,  Katie,,"  is  the  signal  for  the  long  line 
to  break  into  five  parts  the  next  time  it  reaches  the  back 
of  the  room;  each  part  passing  up  the  aisle  to  which  it 
belongs,  the  children  slipping  into  their  seats  as  they  reach 
them.  Thus  in  a  twinkling  all  are  once  more  in  their 
proper  places. 

"  Put  down  the  windows  and  shut  the  door,  children,"  is 
the  next  direction,  instantly  followed  by, — "Lewis,  and 
Fred,  please  bring  me  that  box  of  plants  on  the  window- 
seat,  and  put  it  here  in  this  chair?"  placing  one  about  four 
feet  from  the  front  row  of  desks,  and  near  the  middle  of  the 
room. 

The  windows  and  door  are  speedily  closed,  but  the  box 
is  heavy,  and  the  boys  have  to  come  slowly  up  the  aisle; 
yet,  as  they  would  decidedly  resent  the  idea  of  being  helped, 
they  are  left  to  stagger  under  their  burden  without  inter- 
ference. When  the  home-made  window  garden  has  been 
placed  in  position,  it  is  found  to  consist  entirely  of  young 
bean  plants,  of  various  sizes;  some  only  just  above  the 
ground,  and  one  of  them  large  enough  to  need  the  support 
of.  the  stick,  around  which  it  is  twined. 

"What  are  these,  Nellie?"  is  the  teacher's  opening  query. 

"Beans." 


344       THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"  Sadie." 

"Bean  plants."  v 

"  What  do  you  say,  children?" 

"  Bean  plants!"  is  the  resounding  chorus. 

"Not  quite  so  loud;  I  can  hear  very  well.  What  is  the 
difference  between  a  bean  and  a  bean  plant?  Willie." 

"  One  is  nothing  but  a  bean,  and  the  other  is  a  bean  after 
it's  been  planted." 

"  Ada." 

"A  bean  is  what  you  have  at  first,  and  a  bean  plant  is 
what  grows  out  of  a  bean. " 

"Carrie." 

"A  bean  is  something  good  to  eat,  and  a  bean  plant  is 
what  the  bean  grows  on." 

"  How  do  you  know?" 

"  I've  seen  them  growing." 

"Ada  said  that  a  bean  plant  grew  out  of  a  bean,  and  now 
Carrie  tells  us  that  a  bean  plant  is  what  a  bean  grows  on. 
Who  has  anything  to  say  about  that?" 

For  a  moment  no  one  stirs,  and  most  of  the  children  look 
as  if  the  statement  was  something  of  an  enigma;  then  a 
boy,  rather  older  than  the  majority,  raises  his  hand,  and 
when  given  permission  to  speak,  explains,  "Bean  plants 
grow  up  tall,  and  have  beans ;  and  when  those  beans  are  put 
into  the  ground,  they  grow  into  other  bean  plants." 

"  That  is  pretty  good  thinking,  Guy.  How  did  I  come  to 
have  these  plants,  Mabel?" 

"They  grew  from  the  beans  that  we  put  into  the  earth." 

"After  they  were  planted,  did  we  do  anything  else? 
Millie." 

"We  had  to  water  them." 

"  What  good  did  that  do?    Laura." 

"The  beans  took  the  water  in,  and  swelled,  and  the  skins 
burst." 

"Then  what,  Lewis?" 


A   LESSON   UPON    THE  BEAN  PLANT.  34$ 

"  The  beans  had  two  halves." 

"What  is  it,  Hugh?"    , 

"  The  sprout  grew  too." 

"  How  did  it  grow?    Bridget  may  tell  us." 

"  Down  into  the  ground,  and  made  roots." 

"Belle." 

"  It  grew  up  too,  for  the  bean  came  to  the  top;  I  saw  it." 

"  What  do  you  suppose  caused  it  to  do  that,  Dannie?" 

"I  guess  it  wanted  to  get  the  sun  and  air." 

"  What  have  you  to  say,  Mike?" 

"  Because  it  didn't  like  to  be  buried  down  in  the  ground. 
I  shouldn't,  anyhow,"  in  a  half  aside. 

"We  will  talk  about  that  some  other  day,"  decides  the 
teacher;  "just  now  I  want  to  find  out  how  much  your  eyes 
are  worth,"  and  taking  her  place  behind  the  chair,  she 
gently  unwinds  the  tall  vine  from  its  stick,  then  using  the 
latter  for  a  spade,  proceeds  to  dig  up  some  of  the  plants, 
shake  the  earth  from  their  roots,  and  lay  them  side  by  side 
on  the  top  of  the  box.  To  complete  this  collection,  which 
includes  every  stage  of  growth,  from  the  bean  just  sprout- 
ing, to  the  plant  with  leaves,  the  teacher  now  adds  a  few 
swollen  beans  from  the  goblet  of  water  on  her  desk. 

All  being  in  readiness  the  children  are  invited  to  walk 
slowly — a  line  at  a  time — in  front  of  the  chair,  for  a  nearer 
view.  One  by  one  the  young  naturalists  pause  before  the 
objects  to  be  studied,  look  closely,  and  steadily  at  the  speci- 
mens for  a  moment,  with  a  scholarly  gravity  eminently 
befitting  the  occasion,  then  pass  on  to  their  seats  and 
begin  to  write  what  they  have  seen.  Now  and  then,  one 
softly  lifts  a  leaf,  or  carefully  turns  a  plant  to  look  at  the 
other  side,  but  as  a  general  thing,  they  observe  with  hands 
clasped  behind,  an  attitude  as  significant  as  it  is  uncon- 
scious. 

"Bead  us  what  you  have  written,  Mary,"  commands  the 
teacher,  as  the  last  little  observer  reaches  his  seat. 


3  4-6       THE   ' '  Q  UINC  Y  ME  THOD  S"   ILL  US  TRA  TED. 

The  child  rises,  slate  in  hand,  and  reads; — "Miss  D.  took 
a  sharp  stick,  and  dug  up  a  bean." 

."  Sidney,  what  have  you?" 

"  Now  we  call  these  bean  plants,"  reads  the  boy. 

"Yes.    Lulu." 

"The  bean  plant  has  roots."  * 

"What  can  you  tell  us?"  inquires  the  teacher,  turning  to 
a  little  maid  who  sits  on  the  other  side  of  the  room. 

"One  of  the  beans  is  decayed,  and  another  had  just  got 
above  the  ground,"  is  the  prim  and  deliberate  response. 

"Raise  your  hands  now,  if  you've  any  new  thing  to  re- 
port. Gilbert." 

"One  of  the  beans  has  dirt  on  the  leaves." 

' '  I  shouldn't  wonder  if  it  had.     Nellie. " 

"The  skin  is  coming  off  from  one  of  them." 

"Yes.    Mabel." 

"The  skin  of  the  bean  is  wrinkled." 

"Always?" 

"  No'm ;  after  it  has  been  soaked,"  explains  the  girl. 

"Arthur." 

"  There  were  two  little  leaves  on  the  stem." 

"Fannie." 

"  I  saw  two  thick  leaves,  and  two  little  leaves." 

"Ida." 

"  The  stem  has  roots." 

"Bobbie." 

"  There  are  some  little  sprouts  on  the  beans." 

"Tom." 

"One  half  of  one*bean  has  gone  away." 

"Julia." 

"  The  root  grows  down  into  the  ground." 

"Laura." 


*  All  these  children  sat  in  the  first  row  and  have  had  time  to  get  something 
written. 


A   LESSON   UPON    THE  BEAN  PLANT.  347 

"Inside  the  bean  there  are  two  little  leaves  and  a  stem." 

"Lewis." 

"  One  of  the  beans  has  just  sprouted  a  root." 

"Mike." 

"I  saw  a  green  stem;  it  was  a  sort  of  a  handle." 

"Millie." 

* '  The  baby  we  saw  in  the  bean  the  other  day,  broke  its 
house  open,  and  came  out,  and  turned  into  two  green 
leaves." 

"That  is  a  charming  story,"  commends  the  teacher. 
"Dannie." 

"You  can  see  where  some  more  leaves  are  going  to 
grow." 

"Gertie." 

"  One  of  the  split  beans  is  green." 

"Herman." 

"  On  one  of  the  plants,  there  is  half  a  bean  on  one  of  the 
sides." 

"Belle." 

"One  half  of  a  bean  was  in  the  earth,  and  the  other  half 
was  out,  and  it  was  wrong  side  up." 

"Bridget." 

"  There  is  a  bud  on  the  top  of  the  stem." 

"Bennie." 

"  One  has  grown  taller  than  the  others." 

"  Clara." 

"The  taller  one  holded  itself  up  by  the  stick." 

"What  did  you  say?"  interrogates  the  teacher. 

"The  taller  one  held  itself  up  by  the  stick,"  hastily  cor- 
rects the  little  maid,  blushing  at  her  blunder. 

"  That  was  better.     Hugh?" 

"There  are  two  thick  leaves  on  the  top  of  one  of  the 
stems,  and  little  roots  coming  out  of  the  bottom." 

"Louise." 

"The  leaves  are  folded  together." 


34-S      THE    "QUINCY  METHODS"   ILLUSTRATED. 

"Josie." 

"I  saw  a  bean  just  coining  up  above  the  earth." 

"Stevie." 

"Two  little  leaves  stick  out  at  the  end  of  what  was  the 
bean." 

"Oscar." 

"  One  half  of  the  bean  has  skin  on  it." 

"Norah." 

"  The  bean  cracks  open,  and  makes  leaves  on  the  plant." 

Every  hand  is  down. 

"Is  that  all  you  can  think  of?"  urges  the  teacher. 

A  boy  signifies  that  he  has  something  to  add,  and  rises  to 
remark — "  One  of  the  beans  is  whiter  than  the  others." 

This  evidently  does  not  please  the  teacher,  who  seems 
about  to  comment,  but  possibly  recognizing  the  fact  that 
she  has  only  herself  to  blame  for  the  silly  answer,  since  she 
forced  it,  adroitly  changes  the  subject  by  asking,  "Does  a 
bean  pushing  up  through  the  ground,  like  this  .one,"  point- 
ing to  an  embryo  just  appearing  above  the  earth,  "make 
you  think  of  anything  you  ever  saw  before?" 

There  is  silence  for  a  little,  then  a  small  girl  on  a  front 
seat  who  has  been  staring  hard  at  the  plant,  speaks  out, 
"  Oh,  I  know !  I  know!  It  looks  like  a  snail  with  its  house 
on  its  back." 

"  I  believe  it  does,"  agrees  the  teacher  smilingly.  "  Isn't 
it  wonderful  that  the  little  sprout  should  know  how  to  grow 
both  ways  at  once ;  down  into  the  dark  earth  to  make— 

"Roots!"  promptly  chorus  the  children. 

"  Yes.    What  end  could  we  call  that?" 

"The  root  end." 

"That  is  right;  and  the  other  end  which  stretches  up,  to 
find  the  air  and  sunshine,  carrying  the  bean  along  with  it; 
what  is  that?" 

"The  stem  end!" 

"  What  grows  there?" 


A   LESSON   UPON   THE  BEAN  PLANT.  349 

"  Stem  and  leaves." 

"  Quite  true.    Now  you  may  get  ready  for  dismissal." 

In  a  breath,  the  room  is  chaotic.  Pupils  are  clearing 
out  desks,  picking  up  papers  from  the  floor,  cleaning  the 
blackboards,  arranging  the  block  table,  and  making  the 
drawers  containing  pencils,  paper,  etc.,  tidy.  Two  minutes 
of  this,  then  the  bell  sounds,  and  order  com.es  again. 

"  Who  has  been  the  housekeeper  this  week?" 

"  Susie  C. !"  declare  the  class  with  one  accord. 

"Next  week,  Fred  M.  may  take  charge  of  the  school- 
room. Whom  will  you  have  to  assist  you,  Fred?" 

"  Katie  and  Herman,"  selects  Fred,  deliberately. 

"Very  well.  I  think  the  pencils  have  been  rather 
sharper  than  usual  this  week,  and  I  haven't  found  a  speck 
of  dust  on  my  desk,"  commends  the  teacher.  "  Let  us  see 
if  Fred  can  make  as  good  a  housekeeper  as  Susie." 

Here  a  gong  strikes  sharply. 

"Kise!"  As  the  pupils  obey,  the  teacher,  taking  up  the 
triangle  lying  ready  at  hand,  says  cheerily,  "Good-night, 
children." 

"Good-night,  Miss  D. !"  is  the  smiling  response. 

Then  the  tinkle  begins,  the  little  ones  stepping  in  time, 
file  out,  and  the  day  and  the  week  are  over. 

Notes  and  Comments. 

These  studies  in  biology  are  intensely  interesting  to  the 
pupils ;  and  the  number  of  facts  discovered  even  in  the  few 
exercises  here  described,  is  far  greater,  than  would  appear 
at  sight.  Take  the  process  of  germination  with  which  these 
youthful  students  began.  They  noted  first,  the  effects  of 
moisture  upon  the  seed, — the  wrinkling  of  the  skin,  the 
swelling  of  the  bean,  and  the  bursting  of  the  seed-coat. 
This  was  followed  by  the  discovery  of  a  rudimentary  plant 
within  the  seed,— the  embryo.  Watching  the  growth  of 


350      THE   "QUINCY  METHODS"  ILLUSTRATED. 

the  embryo,  they  observed  the  ascending  and  descending 
axis— the  development  of  the  plumule  and  the  radicle. 
Their  attention  was  also  drawn  to  the  cotyledons,  concern- 
ing which  they  held  divided  opinions;  some  considering 
them  the  two  halves  of  the  bean,  and  some  calling  them 
thick  leaves.  All  this  knowledge  acquired,  and  yet  they 
were  told  nothing;  merely  led  to  discover  for  themselves. 
Only  once  the  teacher  taught  them ;  when  she  spoke  of  that 
mysterious  instinct  in  the  plant,  which  always  sends  the 
roots  down,  and  the  stem  up.  The  thought  she  hinted 
then,  of  obedience  to  the  laws  of  life, — as  unswerving  in  the 
meanest  weed  as  in  the  grandest  planet,— was  a  great  one. 
It  may  grow  in  some  young  mind,  until  it  lifts  the  thinker 
from  Nature,  up  to  Nature's  God. 


ANOTHER  LESSON.— THE  LEAF. 

PURPOSE  OF  THE  LESSON.— To  find  out  what  the  pupils 
know  about  the  leaf,  and  to  teach  them  something  more. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Her  study  of 
the  leaf,  and  her  knowledge  of  the  botanical  terms  applied 
to  it. 

Second.  Her  study  of  the  children,  and  her  knowledge  of 
how  to  teach  them. 

PREPARATION  MADE  BY  THE  PUP/LS.— Whatever  they  know 
about  leaves. 

PLAN  OF  THE  LESSON.— Begin  by  getting  the  children  to  toll 
all  that  they  see  or  know  about  the  bean  leaf, — especially 
its  shape.  End  by  touching  them  its  parts,  and  writing-the 
names— petiole,  blade,  and  veins— on  the  board.  Let  one 
group  draw  the  bean  plant,  for  Busy-Work,  and  have  the 
others  write  what  they  can  remember  about  the  lesson. 


ANOTHER  LESSON.— THE  LEAF.  351 


THE  LESSON. 

The  interest  in  plant  life,  aroused  by  this  study  of  the 
growth  of  the  bean,  is  kept  up  by  a  variety  of  exercises, 
either  oral  or  written,  until  the  little  ones,  having  gained 
all  that  they  can  through  their  own  observation  alone, 
must  be  helped  by  the  teacher ;  in  other  words  are  ready  to 
be  taught.  This  period  arrives  a  few  weeks  later,  and  the 
leaf  is  selected  as  the  part  of  the  plant  with  which  to  begin. 

The  bean  garden  has  grown  so,  that  by  this  time,  the 
leaves  are  large  enough,  but  their  number  is  not  sufficient 
to  supply  the  whole  class,  and  several  children  have  volun- 
teered to  bring  a  handful  from  home,  for  the  purpose. 
These  are  given  out,  one  to  each  pupil. 

"Who  has  something  to  tell  me?  Robbie?"  is  the  ques- 
tion with  which  the  lesson  begins. 

"The  bean  leaf  has  a  stem." 

"Ida." 

"  The  bean  leaf  is  curved." 

"  Of  what  part  are  you  speaking?" 

"The  outside,  it  is  curved,"  repeats  the  little  girl. 

' '  You  mean  its  shape.  Has  any  one  else  anything  to  say 
about  the  shape?  Luke." 

"The  end  of  the  leaf  is  pointed." 

"Tom." 

"The  sides  at  the  top  are  broad." 

"Fannie." 

"At  the  lower  part  of  the  bean  leaf  it  is  narrow." 

"Sophia." 

"  It  is  hollowed  out  where  the  stem  is  fastened  on." 

"Ellen." 

"The  leaf  is  flat." 

"Jack." 

"The  leaf  is  thin." 

"  Very  well.    What  is  this,  children?" 


352      THE   "Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

"The  stem!" 

"And  this?" 

"The  leaf!" 

"  Sometimes  we  give  these  different  names.  This  broad 
part  we  call  the  blade.  Why  do  you  suppose  we  call  it  the 
blade,  Henry?" 

"Because  it  is  thin  like  the  blade  of  a  knife." 

"Sidney." 

"  They  call  grass,  a  blade  of  grass,  because  it  will  cut.  1 
cut  my  hand  last  summer  on  one,  and  it  bled  awfully,  and 
hurt  too." 

"Perhaps.  What  is  the  new  name  for  this?"  touching 
the  broad  part. 

"The  blade." 

"Yes;  this," — indicating  the  stem,  "we  call  the  petiole. 
I  don't  think  you  ever  heard  that  before.  Say  it,"  and  the 
class  repeat. 

"  All  touch  the  blade;  all  take  hold  of  the  petiole.  What 
does  this  look  like?"  turning  to  the  board,  and  drawing 
hastily. 

"A  stem !"    "A  petiole !"  is  the  mixed  answer. 

"  And  this?"  sketching  an  outline. 

"A  blade!"     "A  leaf!" 

"It  is  the  blade;  it  couldn't  be  the  leaf,  because  the  leaf 
means  both  blade  and  petiole,"  touching  these  parts  as  she 
speaks.  "  What  do  we  call  this?"  putting  in  the  midrib. 

"  A  vein!"  call  out  several  voices. 

"  That's  right;  all  together,  once  more." 

"A  vein  I" 

"  Each  put  your  finger  011  a  vein  in  the  blade  of  the  leaf, 
that  you  have.  How  can  you  tell  the  veins?  Dannie." 

"  Because  they  stand  up." 

"Clara." 

"  Because  they  show." 

"  Laura,  what  do  you  say?" 


ANOTHER  LESSON.— THE  LEAF.  353 

"Because  they  are  hard." 

"  Are  there  any  veins  in  the  petiole?" 

"No'm!" 

"  What  is  it,  Stevie?" 

"The  petiole  is  like  a  big  vein." 

"Somewhat.  Look  now;  can  you  find  any  more  of 
these?"  drawing  quickly. 

1 1  Veins !"  "  I  can !"  "  Yes'ra !"  "  There's  lots  of  them !" 
"They  are  all  over  the  leaf!" 

"I  think  they  are.  Tell  me  something  that  you  have 
learned,  Gertie." 

"  I've  learned  that  the  broad  part  of  the  leaf  is  called  the 
blade." 

"That  is  nice.     Oscar." 

"The  stem  is  called  the  pitiole." 

"Not  quite;  pet-i-ole.  Say  it  again.— This  is  the  way  it 
looks,  children,"  writing  it  on  the  board;  "and  this  word 
is — "  pronouncing  slowly  as  she  writes, — 

"  Blade !"  call  out  the  pupils. 

"Here  is  the  other  word  I  gave  you,"  writing,  and  pro- 
nouncing—veins. "Where  does  the  large  vein  run  in  the 
leaf,  Stevie?" 

"Down  the  middle." 

"  And  the  rest  of  the  veins,  Luke?" 

"All  over." 

"All  over  what?" 

"  All  over  the  blade  of  the  bean  leaf." 

"Yes;  and  the  last  name  you  said,  is  the  last  name  I 
will  write.  That  was  what,  children?"  writing  as  she 
speaks. 

"Bean  leaf." 

"Here  it  is.  Now,  Katie's  class  may  take  their  slates, 
and  write  all  that  they  have  learned  about  the  leaf.  If 
they  think  of  some  nice  sentences,  and  read  them  to  me 
very  well,  I  may  allow  them  to  copy  what  they  have 


354      THE  "QUINCY  METHODS"  ILLUSTRATED. 

written,  in  their  little  books.  Sammy's  group*  may  pass  to 
the  blackboard,  so  softly  that  I  cannot  hear  them  go,  and 
draw  a  bean-plant  for  me.  The  little  folks  in  Lizzie's  class 
may  come  out  here,  and  we  will  find  something  new  and 
nice  to  read." 

Notes  and  Comments. 

The  opponents  of  the  "New  Education,"  when  met  at 
every  other  point,  begin  with  one  accord  to  declare—'  We 
have  no  time  to  devote  to  anything  except  the  practical 
studies — such  as  Reading,  Writing  and  Arithmetic — in  the 
common  schools.' 

By  all  means  the  children  should  master  the  "three  R's" 
in  eight  years  (and  a  few  other  things  besides).  Suppose 
they  could  be  taught  to  read,  to  write,  to  cipher,  even 
better  than  under  the  old  dispensation,  and  yet  learn 
something  of  themselves;  and  something  of  the  wonder- 
ful world  in  which  they  live — knowledge  quite  as  essen- 
tial to  their  well-being,  as  the  first  mentioned— would 
it  be  an  evil?  Suppose  again,  that  children  could  be  so 
taught  that  they  should  gain  their  training  in  the  "three 
R's"  by  means  of  the  study  of  such  hitherto  neglected 
subjects  as  Botany,  Zoology,  Physiology,  etc.,  what  then? 
It  is  not  impossible.  It  has  been  done  in  a  few  schools ;  it 
is  being  done  in  more  schools ;  it  will  be  done  in  most 
schools,— in  time.  These  lessons  in  Botany  will  illustrate 
how.  In  the  course  of  their  work  upon  this  one  subject, 
these  children  have  learned  practically,  something  of  seven 
other  branches,  making  eight  altogether;  to  wit,  Read- 
ing, Writing,  Spelling,  Composition,  Grammar,  Rhetoric, 
Drawing,  and  Botany ;  but  best  of  all,  the  little  people  have 
found  this  much  study,  not  a  weariness  of  the  flesh,  but  a 
pleasun-. 

*  The  groups  begin  to  consolidate  .InririK  the  second  yoar,  their  number  being 
less,  and  their  size  larger. 


CHAPTER  IT. 

A  FIRST  LESSON  IN  CIVIL  GEOGRAPHY. 

PURPOSE  OF  THE  LESSON.— To  give  the  children  some  ideas 
concerning  the  laying  out  of  a  village. 

PREPARATION  MADE  BY  THE  TEACHER.— Deciding  upon  the 
points  to  be  presented,  and  devising  the  manner  of  their 
presentation. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  training  they 
have  received  in  the  habit  of  observation,  and  all  the  power 
to  reason  from  cause  to  effect  that  has  been  developed. 

PLAN  OF  THE  LESSON.—  Gain  from  the  children  if  possible- 
it  not,  lead  them  to  see— these  items:  (1)  That  a  village 
should  have  its  streets  straight,  or  nearly  so.  (2)  That  the 
streets  should  be  graded.  (3)  That  there  should  always  be 
sidewalks.  (4)  That  the  houses  should  be  built  back  from 
the  street,  to  allow  for  gardens,  or  lawn  spaces  in  front.  (5) 
That  trees  should  be  set  out  along  the  sides.  (6)  Inciden- 
tally, recall  the  cardinal  points  of  the  compass. 

THE  LESSON. 

"Carrie's  class  have  written  such  good,  long  sentences, 
that  I  am  going  to  let  them  come  with  me  to  the  sand  table, 
fora  little  play,"  is  the  welcome  permission  that  brings  a 
dozen  happy  boys  and  girls  around  the  large,  shallow,  pan- 
like  box  on  legs,  in  which  is  nearly  a  bushel  of  clean  sea- 
shore sand. 

"Wouldn't  it  be  nice  to  make  a  village,  and  play  that 


THE   "  QUINCY  METHODS"   ILLUSTRATED. 

these  blocks,"  bringing  over  a  double  handful  from  the 
number  table  close  by,  "  are  the  houses?" 

"  Oh  yes'm!"  is  the  ready  chorus,  as  the  little  ones  reach 
out  for  their  blocks,  which  each  begins  at  once  to  stick  end- 
wise into  the  sand  in  front  of  him. 

Standing  at  the  head  of  the  table,  the  teacher  silently 
watches  the  busy  workers,  till  she  sees  that  for  which  she 
is  looking,  viz. :  an  expression  of  thought  that  touches  upon 
some  one  of  the  points  which  she  proposes  to  bring  up  in 
this  lesson. 

For  a  time  the  children  seem  to  have  no  more  of  an  idea 
of  how  a  village  should  be  laid  out,  than  some  of  their  an- 
cestors had,  when  they  scattered  their  houses  among  the 
bleak  New  England  hills  fifty  years  ago.  Presently,  a  boy 
who  has  been  looking  at  his  blocks,  placed  irregularly  here 
and  there  in  the  sand  in  front  of  him,  gets  a  thought,  picks 
his  blocks'  all  up  and  begins  again,  arranging  them  this 
time  in  two  parallel  rows. 

A  moment  later  the  teacher  speaks,  the  pupils  all  look- 
ing up  to  listen. 

"Henry,  why  did  you  put  your  houses  that  way  ?" 

"  Because  I  am  going  to  have  my  street  straight." 

Within  one  minute,  every  child  at  the  table  is  pulling  up 
his  blocks,  and  setting  them  out  in  straight  lines.  Thus 
without  a  word  of  comment  or  discussion,  does  the  citizen 
of  the  future  accept  improvement.  When  this  has  been 
done,  the  little  ones  having  evolved  no  new  thought,  wait 
for  some  further  direction  from  the  teacher,  who  tries 
criticism. 

"I  wouldn't  like  to  ride  through  your  village,  children; 
I  am  afraid  that  I  should  get  tipped  over."  They  do  not  see 
what  she  means,  so  she  adds,— "Besides,  I  do  not  like  the 
looks  of  the  sand,  all  up  and  down  this  way." 

Still  they  stand  silent,  and  look  from  their  work  to  their 
teacher,  and  back  again.  Then  one  face  lights  up,  and  a 


A   FIRST  LESSON  IN  CIVIL    GEOGRAPHY.        357 

little  girl  speaks  out  impulsively,  "Oh,  I  know!  smooth  en 
it  out  and  make  it  pretty." 

"Yes,  smooth  it  out,"  corrects  the  teacher,  smilingly. 

Immediately  all  of  the  blocks  come  up  again,  and  the 
sand  is  evened  and  patted,  until  it  is  as  level  as  the  floor^ 
when  the  juvenile  highway  surveyors  begin  for  the  third 
time  to  place  their  block  houses. 

The  teacher  having  waited  in  vain  for  any  hint  of  co-op- 
eration on  the  part  of  the  little  ones,— each  intent  upon  his 
own  street  on  the  spot  of  sand  directly  in  front  of  him, — now 
suggests, — "  How  would  it  do  to  have  one  long  street  down 
the  middle  here,  and  set  your  houses  on  each  side  of  that?" 

"  I  think  it  would  be  nice,"  agrees  a  small  girl,  pausing 
—block  in  hand— in  the  midst  of  her  building,  and  gravely 
eying  the  bare  space  referred  too;  "that  would  look  like 
Washington  Street." 

"But  I  want  to  make  my  street  my  own  self,"  insists  a 
sturdy  little  fellow,  who  isn't  yet  educated  up  to  the  co- 
operative idea. 

"You  may,  only  I  thought  that  we  could  make  such  a 
pretty  village,  if  we  all  worked  together,"  gently  urges  the 
teacher. 

44 1  think  so  too,  and  I'm  going  to  do  it,"  declares  a  reso- 
lute specimen  of  Young  America,  beginning  without  more 
ado  to  place  his  blocks  in  a  row  down  the  centre  of  the  right 
hand  side  of  the  table. 

This  is  enough  to  decide  the  rest  of  the  group,  who  follow 
his  lead,  leaving  the  boy  who  wanted  to  work  alone,  rather 
too  much  alone,  apparently,  for  after  placing  two  or  three 
blocks  in  position,  he  begins  to  feel  a  little  forlorn,  and 
stays  his  building  to  watch  his  mates,  working  so  briskly 
and  happily  together.  Three,— four,— five  minutes,  the 
struggle  between  the  selfish  and  the  social  instinct  in  this 
small  human  being,  goes  on;  while  the  teacher,  reading  his 
face  like  an  open  book,  waits,  and  will  not  help,  but  leaves 


THE    "QUINCY  METHODS"   ILLUSTRATED. 

him  to  learn  this  other  lesson— more  vital  than  geography— 
by  himself,  that  he  may  know  it  better.  At  last,  hastily 
snatching  his  blocks,  he  slips  around  to  the  side  of  the  near- 
est child,  and  joins  the  other  workers,  on  the  common 
street. 

Meantime,  nearly  all  of  the  block  houses  have  been  set 
up,  but  one  little  maid  has  not  placed  hers  in  line  with  the 
others  on  that  side. 

The  teacher  now  turning  her  attention  to  the  group,  dis- 
covers this,  and  inquires,  "  Katie,  what  made  you  put  your 
houses  so  far  back?" 

"Because  I  wanted  to  have  some  flower  beds  in  front," 
is  that  diminutive  woman's  response. 

'  *  That  will  make  them  charming, "  pronounces  the  teacher. 
"  I  think  I  should  like  to  live  in  one  of  your  houses;"  where- 
upon every  block  house  down  the  whole  length  of  the  street 
is  picked  up,  and  set  farther  back,  to  allow  space  for  front 
yards. 

"Does  it  look  like  Washington  Street  now?"  queries  the 
teacher,  when  this  fourth  amendment  to  their  original  idea, 
has  been  moved,  and  carried. 

There  comes  no  answer,  so  she  adds  suggestively, 
"What  is  there  on  Washington  Street  besides  the  houses?" 

"Trees!"  breaks  out  a  child  suddenly.  "O  Miss  D— . ! 
couldn't  we  have  some  little  bits  of  branches,  and  just  stick 
them  up  in  the  sand,  and  play  they  are  trees?" 

"Oh,  yes!  do  let  us,"  is  the  eager  cry  from  the  enthusi- 
astic little  geographers,  who  cluster  around  her  to  urge  the 
matter. 

"Well,  Minnie  and  Frank  may  go  and  get  some;  and 
don't  be  gone  two  minutes  for  it  is  almost  time  for  me  to 
hear  Jiminie's  class  read. " 

The  couple  hurry  away,  and  the  teacher  turning  toward 
the  sand- table,  proceeds  to  lead  the  rest  of  the  group  to  see 
her  last  point;  and  does  it  thus. 


A   FIRST  LESSON  IN   CIVIL   GEOGRAPHY.        3  $9 

"  Where  shall  we  set  out  our  trees  when  they  come?"  she 
asks  of  the  children;  "show  me  with  your  fingers." 

The  pupils  indicate  the  side  of  the  street. 

"Where  are  the  horses  and  wagons  to  go?" 

"Down  here  through  the  middle!"  is  the  class  chorus. 

"  And  the  people;  do  you  mean  to  have  them  walk  in  the 
street  too?  They  will  get  their  shoes  all  sandy,  and  wet 
when  it  rains;  what  are  you  going  to  do  about  that?" 

"They'll  just  have  to  wear  their  rubbers,"  nonchalantly 
decides  an  imperious  little  miss. 

"No,  we  ought  to  have  a  sidewalk, "  protests  a  boy  in- 
stantly ;  "  we  forgot  that.  Let's  make  one !" 

The  words  are  hardly  uttered,  before  the  thing  is  done, 
and  when  Frank  and  Minnie  return,  each  with  a  hand  full 
of  twigs,  the  class  has  raised  a  sidewalk  in  the  sand,  and 
flattened  it  smooth,  down  both  sides  of  the  miniature  street. 
Then  the  tiny  trees  are  set  out,  and  the  little  people  stand 
back  to  view  the  effect. 

"Which  way  does  your  street  run,  children?" 

"  East  and  west,"  is  the  instant  decision. 

' '  Very  well.  We  will  play  that  Katie  lives  in  one  of  her 
houses ;  then  if  she  looks  out  of  her  front  windows,  she  can 
see  my  house,  which  I  will  place  here,"  putting  a  block  into 
the  sand  as  she  speaks.  "Which  way  will  she  look?" 

"  North!"  declare  the  pupils. 

"  And  when  I  stand  on  my  piazza,  and  want  to  know  if 
Katie  is  on  hers,  I  shall  turn  my  face  in  what  direction?" 

"  South!"  is  the  response. 

"Helen  may  move  into  my  cottage,  and  Jennie  shall  live 
in  this  house  that  I  put  over  here ;  in  which  direction  will 
Helen  walk  when  she  goes  over  to  visit  her?" 

"North-east." 

"Suppose  that  Jennie  comes  half  way  to  meet  her; 
toward  what  point  will  she  travel?" 

"South-west!" 


3^0      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  George,  Frank,  and  Willie  may  build  a  short  street  run- 
ning south-east  from  Washington  Street.  Now,"  continues 
the  teacher,  turning  to  the  others,  as  the  boys  named,  start 
for  the  number  table  to  get  their  blocks  for  houses;  "if  this 
street  that  they  are  to  make  should  cross  Washington 
Street,  and  go  straight  on,  in  what  direction  would  it  run?" 

"North-west." 

"  That  is  right.  What  shall  we  call  this  village  that  we 
have  begun  to  make?" 

"  Quincy !"  is  the  prompt  response. 

"Very  well;  the  little  women  and  men  that  are  building 
Quincy,  may  go  to  their  seats,  and  copy  on  their  slates 
what  they  find  on  the  front  blackboard.  Write  the  answers 
to  the  first,  second,  and  third,  and  make  a  picture  for  the 
fourth.  Let  mo  see  if  they  can  do  that  as  well  as  they  can 
build  a  village.  Pass." 

WHAT    THEY   FOUND,    BEAUTIFULLY    WRITTEN,    ON    THE   FRONT 
BLACKBOARD. 

1.  How  many  petals  have  three  cherry  blossoms? 

2.  Mary  is  twenty-one  years  old,  and  her  sister  is  nine. 
How  much  older  is  Mary  than  her  sister? 

3.  How  many  sevens  in  seventeen. 

4.  How  many  horns  have  two  oxen,  one  cat,  two  goats, 
eight  robins,  and  four  cows?  (make  a  picture.) 

Notes   and  Comments. 

The  beauty  of  this  lesson  lies  in  the  presentation  of  the 
different  points  taught.  In  it,  is  found  the  union  of  those 
two  conditions  so  difficult  to  combine,— entire  spontaneity  of 
thought  on  the  part  of  the  pupils,  with  a  constant  limitation 
as  to  the  objects  of  thought,  by  the  teacher;  that  is,  the 
children  are  led  so  skilfully,  that  they  are  quite  unconscious 
of  the  leading. 


THREE  LESSONS  IN  STRUCTURAL    GEOGRAPHY.     361 


THREE  LESSONS  IN  STRUCTURAL  GEOGRAPHY. 

PURPOSE  OF  THE  LESSONS.— To  teach  how  a  pond  is  formed. 

PREPARATION  MADE  BY  THE  TEACHER.— First.  Studying  up 
the  matter  of  the  lessons. 

Second.  Deciding  the  manner  of  its  representation. 

PREPARATION  MADE  BY  THE  PUPILS.—  All  that  they  know  of 
geography,  whether  learned  from  previous  lessons,  or 
gained  through  their  own  observation  of  nature. 

PLAN  OF  THE  LESSONS.— (I)  Review  carefully  aU  that  has 
been  gone  over. 

(2)  Show  the  formation  of  a  pond,  by  building  a  dam  of 
hills  near  the  mouth  of  the  river  on  the  sand  table,  and 
then  pouring  water  through  the  river  channel  till  the  basin 
thus  formed  is  full.  After  this  has  been  done,  get  the  chil- 
dren to  tell  about  the  way  the  ice  pond  is  made.  Further 
more,  lead  the  pupils  to  draw  constant  comparisons  be- 
tween what  they  have  made,  and  what  they  have  seen ;  be- 
tween the  objects  themselves,  and  their  representation. 

A  REVIEW. 

The  class  is  gathered  around  the  sand  table.  On  it,  a  lit- 
tle to  one  side,  are  molded  some  hills,  with  an  abrupt  slope 
to  the  right,  and  a  long  gentle  slope  toward  the  left  ending 
in  a  plain.  There  are  grooves  in  the  sand  in  different 
places,  that  show  where  river-beds  have  been  washed  out 
at  previous  lessons.  The  hills  are  built  of  pebbles,  clay, 
and  sand.  First  comes  a  review.* 

*  These  lessons  have  been  given  at  irregular  intervals  (never  more  than  twice 
a  week,  and  sometimes  only  once)  for  nearly  a  year,  and  the  review  involves, 
to  some  extent,  all  that  has  been  taught  in  that  time. 


3^2      THE   ' '  Q  UINC  Y  ME  THODS  "   ILL  US TRA  TED. 

"Tell  us  what  you  see  on  the  sand  table,  Amy,"  is  the 
opening  question. 

The  little  girl  who  is  standing  at  the  left-hand  side  of  the 
molded  form,  answers,  "Nearest  to  me  is  a  level  plain;  a 
little  farther  away  it  begins  to  rise." 

"Arthur  may  put  his  finger  where  the  rise  begins."  He 
does  so,  and  Amy  resumes. 

"To  rise  a  little  at  a  time,  until  it  gets  to  this  row  of 
rocks,  then  it  is  steep  away  up  over  these  little  stones,  and 
from  here,  it  goes  on  not  so  steep,  up  to  the  top." 

"Ella,  play  that  your  forefinger  is  yourself,  then  you 
may  start  at  the  top  of  the  hill,  and  run  all  the  way  down 
to  the  plain;  tell  us  what  you  go  over,  to  get  there." 

The  small  maiden  places  her  finger  on  the  crown  of  the 
molded  hill,  and  moves  it  on  as  she  speaks, — "  I  run  along 
down,  and  it  isn't  very  steep,  till  after  I  get  here  to  the 
stones.  It  is  pretty  hard  getting  over  these,  and  when  I 
come  to  the  edge  of  the  rocks,  it  is  so  steep,  that  I  think  I 
shall  have  to  jump,"  and  Ella  stands  holding  her  forefinger 
on  the  top  of  some  small  pieces  of  rock,  set  into  the  clay 
and  sand  in  such  a  way,  that  their  cleft  sides  are  per- 
pendicular, forming  miniature  precipices  in  the  molded 
slope. 

"Ho!  I  guess  she'd  be  dead,  if  she  jumped  as  far  as 
that,"  exclaims  Phil;  while  Jimmie  says  slowly,  as  if  study- 
ing the  situation,  "  She  might  get  a  long  ladder  and  put  it 
there,  and  go  down  on  that." 

George  skeptically.  "I'd  like  to  know  where  she  is 
going  to  get  a  ladder  ?" 

At  this  juncture,  finding  that  her  class  is  rapidly  resolving 
itself  into  a  committee  of  ways  and  means,  the  teacher  in- 
terposes, and  averts  the  calamity  thus :  '  *  Never  mind ;  we 
will  play  that  she  is  at  the  bottom.  Go  on,  Ella." 

"Now  I  run  all  the  rest  of  the  way  down  to  the  plain." 

"  How  would  two  of  you  boys  like  to  start  at  the  top,  and 


THREE  LESSONS  IN  STRUCTURAL    GEOGRAPHY.     363 

have  a  race  down  the  other  side  of  our  hills  ?"  queries  the 
teacher. 

"I  shouldn't  like  it  at  all,"  protests  Horace. 

"Why  not?" 

" Because  it's  so  steep  that  we  couldn't  run;  we  would  fall 
down." 

"  Did  you  ever  see  a  hill  as  steep  as  this  ?"  addressing  the 
group,  most  of  whom  put  up  their  hands  immediately. 
"  Annie." 

"  That  hill  down  by  Mr.  S.'s  store." 

"What  has  John  to  say  ?" 

"I  think  the  one  in  front  of  Mr.  Gr.'s  house  is  steeper  than 
that." 

"Yes,  and  either  of  them  is  as  steep  as  this  of  ours.  Do 
any  of  you  remember  the  name  that  we  gave  to  the  sides  of 
hills,  when  we  talked  about  them  the  other  day  ?  Bessie. " 

"We  called  them  slopes." 

"  What  kind  of  a  slope  did  we  say  this  was,  Jennie  ?" 
pointing  to  the  right. 

"An  abrupt  slope." 

"  And  on  this  side  [the  left]  ?" 

"  A  gradual  slope." 

"But  it  seems  to  me,"  objects  the  teacher,  that  the 
slope  is  not  very  gradual  here."  The  hands  are  all  up  in- 
stantly. "Flora." 

"No,  that's  a  rocky  precipice." 

t '  Did  you  ever  see  a  real  one,  children  ?" 

"Yes'm!"  in  emphatic  chorus;  "we  can  see  one  now," 
glancing  out  of  the  window. 

"I  don't  see  any,"  persists  the  teacher,  staring  straight 
at  the  opposite  wall. 

The  laughing  children  immediately  surround  her,  arid 
half  pull,  half  push  her  about,  to  face  in  the  right  direc- 
tion; a  proceeding  to  which  she  smilingly  submits,  but 
drops  her  head,  and  looks  at  them  instead  of  out  the 


364      THE    "QUIATCY  METHODS"   ILLUSTRATED. 

window.  As  she  is  tall,  they  are  nonplussed  for  a  second, 
but  only  for  a  second ;  then  a  bright-eyed  little  girl  gives  a 
chair  near  by,  a  push  that  sends  it  to  the  teacher's  side, 
springs  upon  it,  and  taking  the  teacher's  head  in  her  two 
hands,  gently  lifts  it  to  the  right  position,  while  the  others 
exclaim,  "There  it  is !  there !"  pointing  with  great  energy  at 
the  bare  face  of  a  crag,  which  rises  precipitately  out  of 
the  brown  hill-side. 

"Oh,  yes!  I  see  now,"  laughingly  admits  the  teacher, 
then  turning  to  the  table,  around  which  the  children  swarm 
again,  like  a  lot  of  bees, — "Ella  has  been  making  believe 
that  she  ran  down  the  hill,  but  we  saw  something  really 
run  down  the  last  time.  What  was  it  ?" 

"  Water!"  is  the  quick  chorus. 

"Did  it  run  straight  down,  George  ?" 

"  No'm,  it  made  crooked  paths." 

"What  is  it,  Annie?" 

"  And  some  of  them  ran  together." 

"Yes.  What  did  we  call  the  water,  when  it  ran  in  little 
crooked  paths  near  the  top  of  the  hill  ?  Flora." 

"Brooks." 

"Tell  us  what  we  called  these  brooks  after  they  came 
together  lower  down,  John." 

"A  river." 

"  Where  did  the  river  run  to,  Phil  ?" 

"Away  down  on  the  plain." 

"  And  then  where,  children  ?" 

"It  ran  over,  and  down  on  the  floor!"  is  the  speedy  re- 
sponse. 

"It  just  leaked  out,"  remarks  a  boy,  which  sets  them  all 
laughing,  while  the  teacher  goes  over  to  her  closet,  from 
which  she  brings  a  slate  with  some  moistened  clay  upon  it. 


THREE  LESSONS  IN  STRUCTURAL   GEOGRAPHY.     365 


THE   NEW  LESSON. 

"I  think  we  will  change  this  a  little  now,"  she  says, 
"and  build  up  some  more  hills;  they  must  not  be  very 
large,  so  we  will  call  them  what  ?  Jimmie. " 

"  Small  hills." 

George  speaking  out.     "  Low  hills." 

"  That's  just  what  I  want  made  from  this  clay;  a  low  hill 
put  here,"  pointing  to  a  spot  on  the  table  near  the  foot  of 
the  larger  hill  and  a  little  to  the  right  of  the  river-basin. 
"  Bessie,  you  may  build  it." 

While  she  is  working,  the  others  watch  closely.  After  a 
little,  John's  hand  comes  up,  and  being  called  upon,  he 
criticises,  "I  don't  think  that  hill  is  high  enough." 

"It  isn't  nearly  so  high  as  our  old  hill;  you  may  take 
some  clay,  and  make  a  higher  one  between  this  and  the 
other,  that  we  have  had  so  long."  He  does  so. 

"Do  these  look  like  any  of  the  little  hills  you  have  ever 
seen  ?"  inquires  the  teacher. 

"Some  of  them  do,"  admits  Arthur  with  an  air  of  lofty 
condescension. 

"  Why,  don't  you  remember,"  breaks  out  Horace,  laying 
his  hand  on  the  old  hill,  "  that  we  made  this  just  like  the 
hill  where  Mr.  R.'s  stone  shed  is  ?" 

"Well  then  this  hill,"  reasons  the  teacher,  indicating  one 
of  the  new  ones,  "must  be  where  Flora  lives,  and  on  the 
top  of  this  (the  little  one)  is  Amy's  house." 

"  But  Amy  doesn't  live  on  a  hill,"  objects  Jennie. 

"We  can  see  her  house  from  the  window,"  casually  re- 
marks the  teacher. 

"  Let's  go  and  find  out!"  chorus  the  class  taking  their  cue 
forthwith,  and  off  they  walk  to  the  window. 

After  a  moment  or  two  of  silent  contemplation,  Flora 
speaks ;  * '  It's  a  hill  one  way  you  look  at  it,  and  one  way  it 
isn't." 


366      THE   "QUINCY  METHODS"  ILLUSTRATED. 

* '  If  it's  a  hill  one  way,  I  should  think  it  would  be  a  hill 
all  ways,"  soliloquizes  the  teacher. 

"  The  ground  comes  up  on  one  side,"  avers  Jimmie. 

"  There's  more  dirt  on  this  side,"  is  John's  way  of  express- 
ing the  same  idea. 

* '  Well,  let  us  go  and  make  ours  like  this ;  who  can  do  it  ? 
Flora  may  try." 

She  fills  in  between  the  two  hills,  just  made. 

"  Now,  does  our  work  look  right  ?" 

"It  seems  to  me,"  specifies  Horace  slowly,  as  if  studying 
upon  it,  "that  we  ought  to  put  some  clay  in  here,"  desig- 
nating the  open  space  between  the  old  hill  and  the  one  next 
to  it. 

"  Very  well;  you  may  put  in  some.  Does  it  suit  you  any 
better  ?"  queries  the  teacher,  after  this  has  been  done. 

"I  think  it  looks  more  like  truly  land,"  reports  Bessie, 
viewing  it  critically  with  her  head  on  one  side. 

Just  here,  the  teacher, — detects  a  slight  languor  in  man- 
ner, together  with  a  failing  in  the  quickness  of  mental 
action,  and  knows  from  these  signs,  that  the  small  brains 
are  becoming  weary;  so,— without  preamble  or  preliminary, 
she  says  sweetly,  "  Good-by,  children,"  and  the  geography 
class  is  dismissed. 


THE  NEXT  LESSON. 

This  begins,  of  course,  with  a  review  the  final  question  of 
which  is,— "  What  did  we  build  the  last  time,  Jimmie  ?" 

"  Those  two  little  hills." 

"  They  look  as  if  they  grew  right  out  of  the  big  hill,"  im- 
agines Arthur. 

"I  think,"  says  Annie,  "that  they  look  like  the  big 
hill's  children,  standing  right  close  up  beside  their  mother." 

To  which  Flora  adds  her  idea,—"  Two  baby  hills;  a  little 
one,  and  a  big  one." 


THREE  LESSONS  IN  STRUCTURAL   GEOGRAPHY.     367 

' '  Who  made  the  small  hills  ?"  asks  the  teacher. 

"  Bessie  and  John !"  respond  the  class. 

"Jennie  may  build  a  low  hill  just  here  beside  Bessie's, 
and  I  think,"  pursues  the  teacher,  "that  I'll  have  a  line  of 
hills  curving  around  this  way,"  indicating  a  semicircle  at 
the  base  of  the  large  hill.  "Who  wants  to  make  the 
next  ?"  Every  one,  to  be  sure.  "  Phil." 

The  rest  of  the  class  look  on  while  these  are  working, 
and  presently  George  offers  the  following  criticism. 

"  Jennie's  hill  is  higher  than  the  one  John  is  making." 

"I  want  some  high  ones,"  is  the  teacher's  quiet  reply. 
"Jimmie,  you  shall  mold  the  next,  Amy  put  in  another, 
and  Arthur  make  one  more.  Ella,  you  raised  your  hand ; 
what  have  you  to  say  ?" 

"  I  like  Jennie's  hill  best;  it  is  so  steep." 

"Do  you  ?  Suppose  you  let  me  see  what  kind  of  a  hill 
you  can  build  ?  Annie,  try  if  you  can  get  a  hill  in  between 
Jennie's  and  Phil's.  I  think  that  will  do.  Oh  there's 
George !  he  hasn't  had  a  chance  to  work  in  the  clay.  There 
doesn't  seem  to  be  any  room  for  a  hill,  except  over  where 
our  line  of  little  hills  comes  around  to  meet  the  big  hill ; 
you  can  put  one  in  there." 

"What  a  lot  of  babies  the  big  hill  has  now!"  exclaims 
Flora,  as  the  busy  workers  put  their  finishing  touches. 

"  They  look  as  if  they  had  made  a  ring,  and  were  going 
to  play  something,"  invents  Phil,  laughing  at  his  own  con- 
ceit. 

"What  did  Bessie  and  John  do  yesterday,  to  finish  up 
their  hills,  class?" 

"Joined  them  together!"  is  the  answering  chorus. 

"You  may  join  some  of  these,  Flora.  Bessie,  you  shall 
help  her.  John,  and  Horace  may  begin  to  fill  in  between 
those  on  the  other  side  of  the  large  hill." 

The  last  called,  work  deftly  and  without  pause,  while 
those  who  built  the  hills,  watch  in  their  turn. 


368      THE   "QUINCY  METHODS"   ILLUSTRATED. 

uNow  they  look  as  if  they  had  taken  hold  of  hands; 
don't  you  think  so,  Miss  D.  ?"  insists  Phil. 

"Perhaps,"  is  the  smiling  assent;  "I could  tell  better,  if 
I  should  see  a  lot  of  girls  and  boys,  standing  as  your  hills 
do,  but  with  their  hands  joined/' 

The  children  catch  the  idea  in  a  second,  and  arranged 
as  she  suggests,  look  up  with  happy  faces,  waiting  for  her 
verdict,  which  is,  —  "I  think  that  the  little  hills,  and  the 
little  hill-makers  do  look  somewhat  alike,  but  I  am  not 
going  to  treat  them  one  bit  alike ;  for  these  I  am  going  to 
keep  here,  till  the  next  day  that  I  can  find  time  to  show 
you  something  very  nice,  while  the  small  folks  who  made 
them,  I  shall  send  directly  to  their  seats  to  write  me  a  slate 
fullofr's.  Go!" 

THE  LESSON  THAT  FOLLOWED. 

This  review  covers  all  that  has  been  taught,  passing  over 
the  most  familiar  points  lightly,  and  giving  greater  promi- 
nence to  those  last  introduced.  When  it  is  over,  the  teacher 
takes  from  the  window-sill  a  pitcher  of  water,  and  without 
a  word  of  explanation,  begins  to  pour  a  tiny,  steady  stream 
upon  the  top  of  the  hill,  so  managing,  that  the  water  runs 
down  through  the  old  channels. 

"  O,  Miss  D. !"  interrogates  one  of  the  class,  all  of  whom 
are  watching,  with  the  keen,  curious  scrutiny  of  childhood; 
"are  we  going  to  have  some  more  rivers  to-day?" 

As  the  teacher,  seemingly  absorbed  in  what  she  is  doing, 
does  not  answer,  the  youngest  member  of  the  group  alleges 
knowingly,—"  I  just  thought  that  was  what  she  was  going 
to  do." 

Still  the  teacher  says  nothing. 

"  Oh,  seel"  exclaims  a  third;  "  the  water  can't  get  out, — 
the  hills  we  made  the  other  day  keep  it  in." 

"It  holds  the  water  just  like  a  pan,"  adds  a  thoughtful 
little  girl  in  a  low  tone,  as  if  speaking  to  heneelf. 


THREE  LESSONS  IN  STRUCTURAL    GEOGRAPHY.     369 

The  teacher  pours  on. 

"Just  look,  it's  getting  deep !"  warns  another,  glancing 
up  at  the  teacher,  who  apparently  neither  sees  nor  hears 
anything,  except  the  water  trickling  from  the  spout  of  her 
pitcher. 

"  What  if  it  should  come  up  to  the  top?"  queries  one  im- 
pressively. 

Still  the  water  falls  on  the  pigmy  hills,  trickles  down  the 
tiny  brook  channels,  rolls  through  the  little  river-bed,  to 
the  basin,  formed  by  the  semicircle  of  hillocks,  now  quite 
full,  and  the  teacher  does  not  open  her  lips,  only  keeps  on 
pouring. 

The  excitement  by  this  time  has  become  intense,  and 
when  the  water  begins  to  run  through  the  lowest  gap  be- 
tween the  hills,  the  children  cry  as  with  one  voice,  ' '  Oh, 
it's  getting  out !" 

Then  the  teacher  stays  her  hand,  sets  the  pitcher  down, 
and  asks,  "  What  does  it  look  like,  John  ?" 

"  A  dish  of  water,"  is  his  idea. 

"What  are  these  all  around  here,  children  ?" 

"  Hills  1"  in  emphatic  chorus. 

"Where  is  the  water,  Phil  ?" 

"  On  the  ground." 

"Yes.    Bessie?" 

"It's  close  to  the  hills." 

"  Did  any  of  you  ever  see  any  water  near  hills  out  of 
doors  ?" 

The  children  think  silently  for  a  few  minutes,  then  Ella 
ventures  timidly,  "There's  the  pond." 

This  is  received  with  a  non-committal  "Well?"  by  the 
teacher,  which  keeps  them  thinking  on,  till  Jirnmie  sud- 
denly proclaims,  "Why  yes,  it  does  look  like  the  pond." 

"  It  isn't  big  enough  for  a  pond,"  contends  Arthur. 

"I  think  that's  big  enough  to  be  a  pond,  if  these  are  big 


3  70     THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

enough  for  hills,"  argues  Horace,  looking  to  the  teacher  for 
support,  but  she  merely  smiles. 

"Of  course  it's  a  pond,"  maintains  Amy;  "isn't  it, 
teacher  ?" 

This  direct  appeal  must  be  answered,  so  she  replies,  "We 
will  call  it  a  pond.  Think  of  the  largest  pond  you  have 
ever  seen,  children." 

"  Over  by  the  ice-house,"  is  the  ready  chorus. 

"I  went  there  last  summer,  and  didn't  see  any  pond," 
affirms  the  teacher. 

"It  wasn't  there  last  summer,"  admits  Flora. 

"  How  did  it  come  there  now,  George  ?" 

"Mr.  O.  put  a  dam  in  the  brook,  and  that  stopped  the 
water  from  going  under  the  bridge,  and  made  a  pond." 

"  How  was  the  pond  made  here?  We  used  to  have  a 
river;  Jimmie?" 

"The  little  hills  stopped  the  water  running  in  the  river, 
and  so  it  spread  out  and  made  a  pond." 

"I  believe  that  was  what  happened.  This  will  do  for 
to-day,  and  next  time  we  will  see  if  we  can  find  out  any- 
thing more  about  ponds." 

Notes  and  Comments. 

^  Emerson,  "Your  teaching  and  discipline  must  have 
the  reserve  and  taciturnity  of  nature."  Here  is  a  teacher 
who  possesses  this  rare  gift  of  silence.  She  knows  not  only 
\vhon  to  speak,  and  what  to  say,  but  where  to  stop.  If 
teachers  would  talk  less,  they  would  make  a  far  stronger 
impression  when  they  do  speak,  and  give  the  poor  children 
a  chance  to  talk,  besides. 


CHAPTER  V. 

A  LESSON  IN  READING. 

PURPOSE  OF  THE  LESSON.— To  train  the  pupils  to  get 
thought  from  printed  sentences. 

PREPARATION  MADE  BY  THE  TEACHER.—  Looking  through  the 
story  to  know  what  words  it  contains,  with  which  the  chil- 
dren are  unacquainted ;  and  arranging  the  manner  of  giving 
the  lesson. 

PREPARATION  MADE  BY  THE  PUP/LS.—AH  the  reading  that 
they  have  ever  done. 

PLAN  OF  THE  LESSON.— First  Have  the  children  tell  all  that 
they  can  think  of  about  the  picture,  and  thus  arouse  an 
interest  in  the  text  of  the  lesson. 

Second.  Weave  the  unfamiliar  words  into  sentences, 
writing  and  pronouncing  the  words  slowly,  instead  of  say- 
ing them  in  the  ordinary  way.  This  will  introduce  them 
in  an  interesting  manner  and  help  to  deepen  their  impres- 
sion. 

Third.  Let  the  pupils  read,  questioning  them  upon  all 
points  which  could  possibly  be  misunderstood,  and  discuss- 
ing the  meaning  of  any  difficult  words.  In  this  manner, 
make  sure  that  they  have  gained  the  thought. 

Fourth.  Call  upon  some  of  the  class  to  tell  all  they  can 
remember  of  what  they  have  read.  Use  this  as  a  means  of 
testing  still  further,  if  the  thought  is  in  the  mind. 

Fifth.  Place  upon  the  board  a  list  of  new  or  difficult 
words,  and  let  the  children  put  them  into  sentences.  This 


372       THE   "  QUINCY  METHODS"   ILLUSTRATED. 

will  show  whether  they  know  the  words  of  the  lesson,  i.e., 
whether  they  can  use  them. 

Sixth.  Write  a  few  words  for  the  pupils  to  make  stories 
about.  This  is  the  final  test  which  tells  if  the  word  is 
known,— that  they  can  use  it  properly  in  written  work. 


THE  LESSON. 

"The  third  division  please  face!  Stand!  File!"  are  the 
words  that  cause  a  group  of  little  children  to  leave  their 
seats,  and  pass  quickly,  yet  quietly  up  to  the  teacher's  plat- 
form, in  front  of  which  they  arrange  themselves  in  line, 
seemingly  just  as  they  happen  to  stand. 

From  her  table,  the  teacher  takes  some  second  readers, 
and  distributes  them  to  the  pupils,  receiving  from  each  in 
turn,  alow-spoken  "Thank you." 

"Does  any  one  remember  the  lovely  story  we  read  yes- 
terday?" asks  the  teacher,  of  her  class  who  are  eagerly 
turning  over  the  leaves  of  their  readers. 

"  I  do !"  exclaims  a  lively  little  miss.  *  *  It  was  about  a  boy 
who  wanted  to  play  all  the  time." 

"Please  let  us  read  it  again ;"  pleads  a  pupil  who  has  found 
the  lesson  referred  to,  and  is  all  ready  to  commence. 

"I  think  it  would  be  better  to  read  something  new,"  ad- 
vises the  teacher,  "and  I  have  found  a  nice  story  for  you. 
It  begins  on  page  one  hundred  and  three." 

"There  isn't  any  picture,"  complains  a  boy,  the  instant 
his  eye  lights  upon  the  designated  place. 

"Yes  there  is,  on  the  other  side,"  answers  a  youth,  who 
has  turned  the  leaf. 

"It's  a  little  girl  making  cake,"  asserts  a  child,  smiling  all 
over  his  face,  as  if  that  was  a  very  laughable  idea. 

"Well,  my  mother  lets  me  make  cake  some  days,"  re- 
sponds a  diminutive  woman,  feeling  called  upon  to  show  the 
young  man  that  such  things  have  happened. 


A   LESSON  IN  READING.  373 

"Yes!  and  I've  made  pies;  little  teenty  toiity  pies,"  tri- 
umphantly announces  another  small  maiden. 

"Who  is  ready  to  tell  me  a  nice  story  about  this  picture?" 
interposes  the  teacher,  bringing  her  wandering  talkers  back 
to  the  lesson.  Everybody  is  eager.  "  Theo." 

4 '  I  can  see  a  girl,  and  there  is  a  basket  alongside  of  her. " 

"G-ive  me  a  better  word  to  tell  where  the  basket  is, — 
Sadie." 

"Beside." 

"Now  Theo,  try  again." 

"I  can  see  a  girl  with  a  basket  beside  her,  and  there  are 
eggs  in  the  basket." 

"  Ida  tell  us  something." 

"The  girl  has  a  neck- tie,  and  her  dress  is  buttoned  in 
front." 

"Paul." 

"  I  see  a  bowl,  and  an  egg  outside  of  the  basket." 

"Jessie." 

"I  see  a  mug,  and  a  dish,  and  a  cake,  and  a  book,  and  a 
knife  alongside— I  mean  beside  the  bowl." 

"She's  told  everything  in  the  picture,"  asserts  Tom  im- 
patiently. 

"Not  quite;  lean  see  several  things  that  haven't  been 
mentioned,"  says  the  teacher.  "  Josie." 

"  The  girl  has  on  a  white  apron." 

"Yes;  Hattie." 

"  The  girl  has  a  bow  on  the  top  of  her  head." 

"Paul." 

"Her  sleeves  are  rolled  up,  and  she  is  holding  her  apron 
on." 

"Ellen." 

"I  think  she's  just  putting  her  apron  on." 

"  What  do  you  suppose  she  wears  that  for,  Edgar?" 

"  So  she  won't  spoil  her  dress." 

"Gilbert." 


374      THE    "QUINCY  METHODS"   ILLUSTRATED. 

"Because  she  is  going  to  cook." 

"  What  makes  you  think  she  is  going  to  cook,  Gilbert?" 

"Because  she  has  eggs." 

"Who  can  think  of  something  nice  that  we  can  make 
with  eggs?  Any  one." 

Then  comes  this  list  of  good  things  to  eat,  from  these  lit- 
tle folks  who  love  them. 

"Custards." 

"Cake." 

"Poached  eggs." 

"Frosting." 

"Custard  pie." 

"Pudding." 

"Omelet." 

"Squash  pie." 

"Doughnuts." 

"  That  will  do.  Put  your  books  down  at  your  sides.  Now 
I  am  going  to  write  a  word  that  tells  what  we  have  to  wipe 
our  mouths  with  when  we  eat,  especially  when  we  have  on 
a  very  nice—" 

"Satin  dress  1"  calls  out  Tom,  too  eager  to  notice  the 
amusement  betrayed  by  the  teacher's  face,  as  she  turns  to 
the  board  to  place  upon  it  the  word  napkin. 

"You  may  all  say  it  slowly." 

"This  is  a  long  word,"  the  teacher  continues,  writing 
as  she  talks.  "Perhaps  when  some  one  of  you  set  the  table 
for  your  mother,  you—"  pointing  to  the  word;  "Remem- 
bered," say  the  class;  "to  put  a—"  indicating  the  word; 
"Napkin,"  repeat  the  pupils;  "at  each  plate.  If  you  did 
that,  I  should  call  you — "  writing  and  pronouncing  slowly ; 
"Thoughtful  children!"  read  the  little  ones  all  together. 

"Perhaps  I  would  like  to  give  you  a—"  writes;  "Cup- 
ful," calls  out  the  class;  "of— "writing  and  pronouncing; 
"Raisins!"  exclaim  the  children.  "Then  I  should  surely 
see  some—"  writing,  and  waiting  for  the  pupils  to  read; 


A   LESSON  IN  READING.  .       375 

"  smiling  faces!"  There  is  a  whole  row  of  them,  when  the 
teacher  pauses  to  inquire,  "How  do  people  feel  when  they 
look  smiling?" 

"Happy!"  is  the  unanimous  response. 

"  Open  your  books,  and  tell  me  if  the  little  girl  in  the  pic- 
ture looks  that  way. " 

' '  Yes'm !"    ' '  Yes'm !"  is  the  instant  assent. 

"  What  do  you  suppose  made  her  happy?" 

"Because  she  is  going  to  cook,"  avers  Sadie. 

"She  remembered  that  somebody  was  poor  and  sick,  and 
I  guess  she  was  going  to  give  them  something,"  assumes 
Gilbert. 

"  That's  a  good  thought,"  commends  the  teacher. 

1 '  Because  she  is  going  to  make  squash  pies, "  is  Theo's  idea. 

"  It  made  her  happy  to  think  of  all  those  nice  things  for 
the  poor,"  alleges  Ellen,  following  in  Gilbert's  wake. 

"I  shouldn't  wonder,"  begins  the  teacher,  "if  this  little 
girl  had  been  to  the  store  to  buy  something,  and  had  on  her 
best  dress.  When  she  got  home,  before  she  began  to  cook, 
what  do  you  think  she  did?" 

"Put  on  her  e very-day  dress,"  responds  Josie,  unhesitat- 
ingly. 

"  Put  on  a  calico  dress,"  is  Ida's  answer. 

"  Changed  her  dress,"  is  the  way  Hattie  puts  it. 

"That's  it,"  agrees  the  teacher,  writing  changed  upon  the 
board,  giving  each  sound,  as  she  makes  the  letters  which 
represent  it. 

"  Now  I  think  that  when  this  little  cook  was  ready  to  go 
to  work,  her—"  writing;  "Mother!"  call  out  the  class; 
"gave  her  some  eggs,  and  told  her  to—"  writing  and  pro- 
nouncing; "Separate,"  comes  promptly  from  the  little  peo- 
ple; "the  light  part,— what  is  it  called?" 

"  The  white  of  an  egg." 

"Yes.  The  white;  from  that  part  of  the  egg  which- is 
this  shape,"  making  a  circle. 


3/6      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

"The  yolk!"  assert  the  pupils. 

"What  color  is  it?" 

"Bed!"  proclaims  a  headlong  youngster,  without  stopping 
to  think. 

"Yellow!"  maintains  the  rest  of  the  class  in  sturdy 
chorus. 

"  What  shape  is  the  yolk?" 

"Round  like  a  ball,"  explains  Edgar,  with  his  eyes  fixed 
on  the  circle  just  made. 

"  I  don't  think  so,"  contends  Jessie. 

"It's  round  anyhow,  teacher  said  so!"  flames  up  Edgar, 
assuming  the  defensive. 

"Yes,  it  is  round,"  determines  the  teacher,  "like  a  ball, 
and  the  word  we've  been  talking  about  is — "  writing; 
"Yolks,"  say  the  little  ones. 

"She  took  these,"  the  teacher  resumes,  pointing  to  the 
word  just  pronounced,  "and—"  "Added  some  flour,"  read 
the  class,  as  soon  as  it  is  written;  "and  several  other 
things,"  continues  the  narrator;  "and  then — "  writing; 
"Baked!"  say  the  class;  "what  she  had  made,"  concludes 
the  teacher.  ' '  What  was  it ?" 

"  A  cake!"  is  the  unanimous  verdict. 

* '  Now  she  took  the  whites  of  the  eggs,  put  a  li ttle  sugar 
with  them,  and  beat  them  with  a — "  writing  rapidly; 
"fork"  prompt  the  children;  "until  they  were— "  writes 
and  pronounces  slowly;  "Foamy,"  aver  the  interested 
little  ones. 

"  Did  you  ever  see  anything  that  was  foamy?    Paul" 

"The  milk  when  it  was  just  brought  in." 

"Jessie." 

"When  the  waves  splash  up,  they  look  foamy." 

"Sadie." 

"  The  soap-suds  in  my  mother's  wash-tub." 

".What  was  this  that  looked  foamy?" 

"  Frosting!"  specifies  the  eager  group. 


A   LESSON  IN  READING.  377 

"  Oh,  I  do  love  it !"  exclaims  Hattie. 

"Yes,"  giving  that  peculiar  inflection  to  the  word,  com- 
mon among  the  Quiiicy  teachers,  who  use  it  with  great 
effect.  It  seems  to  signify  just  enough  gentle  indifference, 
to  hold  the  volatile  and  forward  pupils  in  check,  and  yet 
denotes  sufficient  sympathy  to  prevent  the  impulsive  from 
feeling  any  hurt  to  their  pride  or  leaving  the  emotional 
with  any  sense  of  discouragement. 

The  teacher  continues.  "This  is  the  way  that  it  looks," 
beginning  to  write;  "I  mean  the  word,"  she  adds,  pausing 
with  uplifted  crayon,  to  glance  archly  over  her  shoulder  at 
the  lover  of  sweets,  who  laughs  with  the  rest  of  the  row, 
in  full  appreciation  of  the  small  joke. 

Turning  from  the  board  where  frosting  has  been  written, 
the  merry  look  dies  out  in  the  teacher's  kindly  eyes  as  she 
glances  over  the  heads  of  her  attentive  little  class,  down  the 
room  and  says,  speaking  gravely,  in  a  clear  low  tone; 
"Clarence  troubles  me  because  he  is  not  at  work.  I  shall 
have  to  wait  until  he  finds  something  to  do. "  The  idle  boy 
fumbles  nervously  in  his  desk  for  a  moment,  and  then 
taking  out  slate  and  pencil,  begins  to  write. 

"What  is  this  story  about?"  is  the  question  with  which 
the  teacher  resumes  the  lesson;  "look carefully." 

The  little  readers  are  all  intent  upon  their  books. 

"Ellen." 

"The  Young  Cook." 

"lean  see  a  word  in  the  column,  that  makes  me  think 
the  little  girl  had  some  yeast.  Who  can  tell  me  what  it  is? 
Ida." 

"Raised." 

"There  is  one  that  tells  what  she  did  with  her  napkin. 
Theo." 

"Folded." 

"I  shouldn't  wonder  if  the — "pointing  to,  and  the  chil- 
dren read,  —  "  Raisins;"  "she  put  into  her  cake,  did  this — " 


3/8       THE  "  QUINCY  METHODS"   ILLUSTRATED. 

writing  and  pronouncing;  "Settled,"  repeat  the  class;  "  at 
the  bottom,"  adds  the  teacher. 

"I  don't  believe  you  ever  saw  this  word  before,"  she 
assumes,  giving  the  slow  pronunciation,  as  she  writes. 
"All  together,  say  it!" 

"Treasures!" 

"Once  again." 

"Treasures!" 

"Who  can  tell  me  what  a  treasure  is?" 

"  I  know;  a  baby!"  exclaims  Sadie  eagerly. 

"What  makes  you  think  so?" 

"  Because  mamma  says  that  our  baby  is  her  precious 
treasure,"  is  the  artless  explanation. 

"  Yes;  what  have  you  to  say,  Tom?" 

"I  don't  think  it's  a  baby;  it  means  something  nice," 
expounds  the  candid  Tom. 

"Gilbert." 

"It  means  gold,  and  jewelry,  and  pretty  things." 

"Well,  we  will  read  our  story  now,  and  perhaps  we  shall 
find  out  in  that  way." 

At  this  announcement,  every  book  comes  up  in  front  of 
the  line  of  animated  faces,  and  each  child  begins  to  pore 
over  the  open  page  as  if  everything  depended  upon  his 
knowledge  of  its  contents.  Meantime  the  arms  are  flung 
up,  the  hands  waving  absent-mindedly  to  and  fro,  as  an 
indication  that  the  owners  are  desirous  of  being  called 
upon. 

After  a  moment  or  two  of  waiting  for  the  absorbed 
readers  to  get  something  of  an  idea  of  the  opening  para- 
graph, the  teacher  asks,  "Who  is  going  to  read  first,  and 
read  very  nicely?" 

The  limp  arms  straighten  immediately,  and  the  waving 
hands  begin  to  flutter,  while  the  faces  are  speaking  a  silent 
language,  each  urging  its  claim  to  be  the  one  selected ;  but 
no  word  is  uttered. 


A   LESSON  IN  HEADING.  379 

"I  think  Paul  may  begin  to  tell  us  the  story,"  decides  the 
teacher,  choosing  the  child  whose  manner,  though  eager, 
is  noticeable  for  its  quiet  self-repression. 

The  instant  the  name  of  the  reader  is  given,  the  arms 
drop,  and  every  pupil  in  the  group  becomes  absorbed  in  his 
book,  following  the  little  boy,  as  he  reads, 

"  Katie  Clark  and  her  mother  have  just  moved  to  the  country.  Katie's  father 
died  not  long  ago,  and  her  mother  had  to  sell  their  large,  nice  house  in  the  city." 

The  reading  is  remarkable:  distinct  in  utterance,  con- 
versational in  manner,  the  voice  sweet  and  low,  and  the 
thoughts  as  perfectly  expressed  as  if  they  were  the  reader's 
own.  But  no  one  seems  to  be  surprised ;  the  class  take  it 
as  a  matter  of  course,  and  immediately  raise  their  hands 
each  hoping  to  be  the  next  selected,  while  the  teacher  begins 
to  question. 

"  What  is  the  little  girl's  name?" 

"  Katie  Clark!"  is  the  chorus. 

"Where  did  they  live  before  they  went  into  the  country, 
Edgar?" 

"  In  the  city,"  is  that  young  man's  response,  given  with- 
out lifting  his  eyes  from  the  paragraph  he  is  reading 
silently. 

"  Why  did  her  mother  sell  her  house,  Theo?" 

"  Because  she  wanted  to  get  some  money." 

"  Gilbert,  your  hand  is  up,  what  do  you  say?" 

"I  think,"  expounds  the  small  man  consequentially, 
"that  she  hadn't  money  enough  to  support  her." 

"  Yes.    Hattie  may  read  this  time." 

**  Katie  is  a  good  girl,  and  wishes  to  help  her  mother." 

reports  Hattie,  as  if  she  really  believed  it. 

"  Her  aunt,  who  lives  in  the  country,  gave  her  some  pretty  white  chickens,  and 
she  will  sell  the  eggs,  and  give  the  money  to  her  mother." 


380      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  What  did  she  wish  to  do?"  questions  the  teacher,  select- 
ing Jessie's  from  the  line  of  outstretched  arms,  as  belong- 
ing to  the  child  who  should  answer. 

"  Her  mother  was  poor,  and  she  wished  to  help  her." 

"  What  kind  of  a  girl  was  she,  class?" 

"A  good  girl !"  is  the  emphatic  chorus. 

"  Why  was  she  going  to  sell  eggs,  Tom?" 

"To  get  some  money,"  hazards  that  individual,  looking 
very  wise. 

"Paul." 

"To  support  her  mother." 

"  What  does  it  mean  to  support  any  one?" 

"To  keep  her  up, "  propounds  Tom,  without  waiting  to 
be  asked. 

"Sadie,"  calls  the  teacher,  ignoring  the  impetuous  de- 
finer. 

"  To  get  food  to  eat,"  avers  that  ready  little  miss. 

4  *  I  think  it  means  things  to  wear, "  contends  Ida. 

"Or  for  the  house,"  qualifies  Gilbert. 

"Then  it  means  everything  to  live  on,"  sums  up  the 
teacher.  "  Edgar  may  be  the  next  reader." 

"  Her  mother's  birthday  came  just  after  they  got  settled  down—" 

"  Oh !"  exclaims  Josie,  instantly  putting  her  finger  on  her 
lip  as  the  teacher  shakes  her  head  in  mute  protest,  and  the 
reader,  interrupted  by  the  exclamation,  having  looked  up 
too  late  to  catch  the  pantomime,  seeing  nothing  unusual, 
adds  the  remainder  of  his  sentence— 

"  in  their  new  home." 

"You  put  in  a  word  that  didn't  belong  there,  Edpsr."1 
says  the  teacher  pleasantly,  before  he  can  go  on.  "We 
must  be  careful  to  read  just  what  is  in  the  book.  Try  that 
sentence  again. " 


A    LESSON  IN  READING.  31 

"  Her  mother's  birthday  came  just  after  they  got  settled  in  their  new  home." 

repeats  the  boy. 

"  Yes;  read  on  tiU  I  tell  you  to  stop." 

'  So  Katie  wished  to  surprise  her  with  something  nice.  She  walked  to  her 
aunt's  who  lived  two  miles  away,  and  asked  her  kind  aunt  to  show  her  how  to 
make  a  large  sweet  cake  for  her  mamma." 

"  What  is  it  to  surprise?"  is  the  teacher's  question  put  the 
instant  the  reader  stops.  "  Josie." 

"To  do  something,  when  somebody  doesn't  know  that 
you  are  going  to." 

"I  think  it  is.  Who  wants  to  tell  me  the  next  two 
stories?"  All  are  anxious.  "Ida  may,"  is  the  teacher's 
choice,  after  a  look  of  approbation  along  the  line  of  intent 
little  ones,  each  with  eyes  fastened  to  the  book,  which  is 
held  in  one  hand,  leaving  the  other  free  for  a  signal,  to 
denote  his  desire  to  read  the  paragraph  he  is  now  skimming 
as  rapidly  as  possible. 

The  child  lifts  her  head  as  her  name  is  called,  assumes  a 
better  position,  lowers  her  book  which  she  now  takes  with 
both  hands,  and  says  in  the  most  interested  fashion, 

"  So  Katie  and  her  aunt  went  out  to  the  old  barn,  where  the  hens  had  made 
their  nests  in  the  hay,  and  found  eggs  enough  to  fill  their  basket.  Katie  was 
delighted,  and  ran  quickly  into  the  house  with  her  pretty  white  treasures." 

" "  Wasn't  that  a  nice  lot  to  find?"  asks  the  teacher,  enter- 
ing into  the  spirit  of  the  piece  with  as  much  zest  as  the 
youngest  pupil  in  the  group. 

"  Yes'm!"  is  the  enthusiastic  chorus. 

"I  found  a  whole  hatful  once,"  volunteers  the  irrepres- 
sible Tom;  "but  they  weren't  good  ones." 

"What  were  Katie's  treasures,  children?"  inquires  the 
teacher  hastily,  to  prevent  any  further  reminiscences  on 
the  part  of  her  talkers. 

"  Eggs!"  is  the  concerted  reply. 

"Yes,     I  think  Sadie  can  tell  us  what  happened  next," 


382       THE   "QUINCY  METHODS"  ILLUSTRATED. 

is  the  teacher's  remark,  referring  to  a  little  maid  who  has 
been  reading  steadily  on  during  the  conversation. 

"  Her  aunt  then  showed  her  how  to  separate  the  yolks  and  whites  of  the  eggs 
and,  with  a  silver  fork,  to  whip  the  whites  until  they  rose  up  in  a  foamy  mound, 
like  that  you  see  in  the  dish," 

reads  Sadie. 

"She  said  that  '  they  rose  up  in  a  foamy  mound ; '  what 
is  a  mound?"  queries  the  teacher.  "  Hattie." 

"  A  little  hill." 

"  What  are  little  hills  made  of,  class?" 

*  *  Earth !"     ' '  Dirt !"     ' '  Ground !"  is  the  confused  chorus. 

"  When  a  very  high  hill  is  made  of  earth,  we  call  it  a — 

" Mountain!"  proclaim  the  readers,  as  with  one  voice. 

"  What  did  Katie  do  with  the  whites  of  the  eggs  to  make 
them  look  that  way?  Ellen." 

"She  whipped  them." 

"What  do  you  mean  by  that?  I  don't  think  all  of  us 
know." 

"  She  beat  them  with  a  fork,"  explains  Ellen. 

"Tom,  talk  the  next  paragraph  to  us." 

Tom  starts  off,  like  a  race-horse  at  full  speed. 

11  Then  she  gave  to  her  a  large  square  box  of  raisins,—" 

"Wait  a  little,"  says  the  teacher  calmly,  checking  the 
reader  at  his  first  comma.  "Begin  again,  and  read  more 
carefully  next  time." 

Somewhat  sobered  and  steadied  by  this  correction,  Tom 
reads  very  naturally,  though  a  little  faster  than  the  subject 
requires,  this  sentence, 

"Then  she  gave  her  a  large  square  box  of  raisins,  and  told  her  to  take  a 
cupful,  and  take  all  the  seeds  out  of  them." 

"That's  better,"  is  the  teacher's  comment;  followed  by,— 
"  Why  did  Katie  take  the  seeds  out,  Paul?" 
"  So  as  to  make  the  cake  nicer." 


A    LESSON  IN  READING.  383 

"What  is  it,  Theo?" 

"So  her  mother  wouldn't  have  to  take  them  out,  when 
she  was  eating  the  cake." 

"  You  may  read  on,  and  see  if  it  says  what  else  the  little 
cook  put  into  her  cake." 

"  Then  she  brought  sugar  in  a  bowl,  and  milk  in  a  cup," 

reads  the  unaffected  little  lad, 

"  and  added  some  butter,  and  taught  Katie  how  to  mix  them  with  flour  so  as  to 
make  a  large  round  loaf  of  cake." 

"  Hattie,  you  shall  tell  us  what  Katie  did  after  that." 

"  When  her  cake  was  made  and  baked,  Katie's  aunt  showed  her  how  to  make 
some  white  frosting,  and  spread  it  on  the  top  and  sides  of  the  cake.  Then 
when  it  was  cool,  Katie  covered  the  cake  with  a  napkin  and  carried  it  safely 
home." 

"  No,  my  dear,  not  quite;  look  at  that  once  more." 

Up  comes  the  small  forefinger  to  lead  the  eye  along  the 
page. 

"Stand  up  very  tall  and  straight,  and  hold  your  book 
with  hoth  hands,  Hattie,  then  you  will  read  hetter,"  is  the 
teacher's  adroit  mode  of  preventing  the  child  from  pointing 
to  the  lines. 

The  little  maiden  obeys,  and  reads  the  paragraph  again : 

"  When  did  Katie  carry  home  her  cake,  Hattie?" 

"  When  it  was  cool." 

"Yes,  I  should  throw  that  word  down." 

"Then  when  it  was  cooZ," 

emphasizes  the  youthful  elocutionist, 

"  Katie  covered  the  cake  with  a  napkin,  and  carried  it  safely  home." 

'  *  Very  good.  Why  didn't  she  take  the  cake  home  when 
it  was  hot?  Sadie." 


384      THE   "QUINCY  METHODS"   ILLUSTRATED. 

11 1  guess  she  was  afraid  it  would  burn  her,"  thinks  that 
practical  little  woman. 

"Jessie." 

"  Because  it  might  break." 

* '  If  you  handle  cake  when  it  is  hot,  what  happens  to  it, 
Ida?" 

"It  makes  it  hard." 

41  Josie." 

"It  falls." 

"Ellen." 

"  It  makes  it  heavy." 

"That's  it;  and  I  think  you  look  as  if  you  could  tell  us 
the  next  story  nicely." 

The  girl  reads,  with  all  the  grace  and  ease  of  childish  talk, 

"When  Katie's  mother  awoke  the  next  morning,  and  remembered  that  it  was 
her  birthday,  and  thought  how  things  had  changed  with  her  since  her  last  birth- 
day, she  felt  very  sad." 

All  the  rest  of  the  class  are  reading— as  usual— the  same 
paragraph  silently,  their  guileless,  expressive  faces,  varying 
with  every  change  of  thought  in  the  story  they  are  inter- 
preting. 

Now  the  hitherto  sunshiny  countenances  wear  a  shade  of 
seriousness,  as  the  teacher  asks,  "What  made  Katie's 
mother  sad  on  her  birthday,  Jessie?" 

"Because,  on  her  last  birthday,  her  dear  husband  was 
alive,  and  gave  her  lots  of  things,  'and  now  he  was  dead, 
and  she  wouldn't  get  any  presents,"  is  the  small  maiden's 
commentary,  delivered  with  befitting  pathos  of  voice  and 
manner. 

This  utilitarian  view  concerning  a  widow's  bereavement, 
is  so  original  and  ingenuous,  that  the  teacher  ventures  no 
further  question  but  motions  to  Josie  to  read.  While  she 
is  doing  so,  the  teacher  retires  behind  her  desk-lid  for  a 
time,  seemingly,  to  indulge  in  a  sudden  attack  of  coughing. 


A   LESSON  IN  HEADING.  385 

"Just  then," 

reads  Josie, 

"  Katie  came  in,  bright  and  smiling,  with  a  sweet  kiss  for  her  mamma,  and 
carrying  her  nice  cake  carefully  in  her  hands." 

By  the  time  the  vivacious  little  reader  has  come  to  the 
close  of  her  paragraph,  the  countenances  of  her  listeners 
are  beaming  again,  and  one  enthusiastic  little  girl  exclaims, 
"Isn't  that  nice!" 

"  Oh  hut  Miss  D. !  the  next  story  is  the  best  of  all;  I've 
just  been  reading  it,"  reports  Gilbert. 

"  Then  you  may  read  it  again,  to  us,"  is  the  teacher's  pro- 
posal. 

Straightway  the  boy  begins, 

"  Her  mother  folded  her  arms  about  her  little  daughter,  and  said,  '  God  bless 
you,  my  sweet  child!  you  are  my  dearest  gift,  because  you  are  always  so  kind 
and  thoughtful.' " 

Some  of  the  class  have  followed  the  reading  with  their 
eyes  upon  the  book,  while  the  others  have  looked  into  the 
reader's  face  and  listened,  (thereby  transforming  the  usual 
straight  line  of  the  reading  class  into  a  curve — which  doesn't 
trouble  the  teacher  in  the  least),  but  all  have  gained  the 
thought;  and  when,  as  the  last  word  is  spoken,  Josie  ex- 
claims, "Wasn't  that  just  a  beautiful  story!"  the  rest  of 
the  class  look,  what  the  teacher  says,  "I  think  it  was." 

"  Can't  we  read  it  again?"  pleads  Edgar. 

"Perhaps,  sometime.  Who  wants  to  tell  me  what  they 
remember  of  this  story?"  From  the  eager  aspirants,  she 
selects  Jessie,  who  narrates, — 

"Katie  Clark's  mother's  birthday  came  soon  after  she 
moved  to  her  new  home.  Katie  remembered  it,  and  went 
over  to  her  kind  aunt's,  and  asked  her  to  show  her  how  to 
make  a  frosted  cake  to  give  to  her  mother." 

"Very  good.  Has  any  one  anything  to  tell  that  Jessie 
left  out?  Paul." 


386      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

"She  didn't  say  that  they  lost  their  money,  and  had  to 
sell  their  house,  and  that  Katie  was  going  to  support  her 
mother." 

"  So  she  didn't.     That  will  do  for  this  morning." 

"Please  Miss  D.,  won't  you  write  some  words  on  the 
board?  We  haven't  had  any  for  a  long  time,"  urges  Sadie, 
as  the  pupils  pass  up  their  books  to  the  teacher,  receiving 
her  thanks  for  each. 

"Yes,  we  have  time  for  just  a  few,  because,"  slightly 
deepening  her  voice,  and  speaking  to  the  entire  roomful, 
umy  other  children — all  but  one — are  very  kind  to  me, 
taking  good  care  of  themselves,  and  keeping  steadily  at 
work." 

Clarence,  who  has  been  sitting  half  way  round  in  his  seat 
watching  the  slate  of  his  neighbor  in  the  rear,  revolves 
suddenly,  and  directs  his  attention  to  the  blackboard  near 
by,  upon  which  are  some  words  which  he  remembers  all  at 
once  to  copy. 

Seeing  her  one  little  idler  busy  once  more,  the  teacher 
turns  and  writes  rapidly  upon  the  board,  the  words, 
remembered,  country,  mother,  cake,  frosting,  basket, 
covered,  and  carefully. 

"Who  has  a  story  ready?"  is  her  brisk  demand,  as  she 
steps  back  a  little  to  give  the  class  a  better  view  of  her  list. 
"Hattie." 

The  child  looks  at  the  board,  and  weaves  the  words  she 
selects,  into  a  sentence  thus:  "Katie  Clark  lives  in  the 
country,  and  she  can  have  all  the  eggs  she  wants,  and  her 
mother  can  make  frosted  cake  with  them." 

"Yes.    Ellen." 

"I  had  some  eggs  in  a  basket,  and  I  covered  them,  and 
brought  them  carefully  into  the  house." 

"Edgar." 

"I  remember,"  begins  the  boy,  "one  summer  morning, 
I  chanced  to  see  a  bird's  nest  up  in  a  tree  almost  covered 


A   LESSON  IN  HEADING.  387 

with  leaves,  and  the  boy  that  was  with  me,  said  he  was 
going  up  to  see  if  there  was  anything  in  it,  and  I  told  him 
not  to,"  ending  with  an  air  of  such  conscious  virtue,  that 
the  teacher  feels  obliged  to  recognize  it,  which  she  does  by 
saying,  "I  am  very  glad  you  were  there  to  keep  that  boy 
from  going;  Sadie,  we  will  hear  your  story." 

"My  grandmother  lives  in  the  country,"  starts  off  the 
little  story-teller,  "  and  she  has  a  great  many  eggs,  and  can 
make  frosted  eggs.  Every  morning  I  go  out  to  the  Boston 
Branch  Store,  and  get  eggs  for  my  brother's  breakfast ;  and 
sometimes  my  mother  does  not  cook  all  the  eggs,  but  she 
breaks  them  up,  and  makes  cake  with  them,  for  she  thinks 
she  may  have  company  through  the  day." 

"  That  will  be  all  we  shall  have  time  for.  Now  you  may 
go,"  notifies  the  teacher,  and  at  the  word,  the  reading  class 
disperses.  Passing  to  another  board,  the  teacher  waits  a 
second,  till  the  pupils  are  in  their  seats,  then  as  several  reach 
for  their  pencils  to  go  to  work,  she  says,  "Leave  your  pen- 
cils on  your  desks  for  a  little,  drop  your  hands  in  your  laps, 
and  look  at  me.  We  have  been  reading  about  a  little  girl, 
and  this  was  her  name,"  writing  Katie;  "  and  she  lived  in 
the— "  writing  city.  "This  little  girl  had  an  aunt  whose 
home  was  in  the—"  writing  country. 

"Sometimes  Katie  went  to  visit  her  aunt,  who  had  a 
great  many  pets,  and  some  were — "  writing  chickens. 

"You  didn't  dot  the  i  in  chickens,"  criticises  the  wide- 
awake Tom. 

4 'That  is  true,"  dotting  it  carefully.  "I  like  to  be  cor- 
rect. Katie  was  a  good  kind  girl,  and  tried  to—"  writing 
help  her  mother.  "Now  this  lady  was  poor,  and  her  little 
girl  wanted  to  earn  some — "  writing  money. 

"What  do  you  think  she  could  do  to  earn  money?" 
addressing  the  class. 

"She  could  make  butter  and  cheese,  and  sell  them," 
predicates  one. 


388       THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"She  might  go  out  and  wash  for  a  lady,  and  earn  money 
that  way,"  supposes  another. 

' '  She  could  sell  something, "  asserts  a  voice. 

"She  might  pick  some  berries  and  sell  them,"  specifies 
one  of  the  older  boys. 

"She  could  do  work, — go  on  errands,"  is  a  girl's  thought. 

"She  could  sell  cranberries,"  calls  out  a  child,  who  prob- 
ably speaks  from  observation. 

The  financier  of  the  group  delivers  himself  thus:  "She 
might  go  over  to  her  aunt's  and  get  some  eggs,  and  then  get 
an  old  hen  and  have  the  hen  bring  out  some  chickens ;  and 
when  the  chickens  grow  up  they  could  lay  eggs,  and  she 
could  sell  them,  and  get  some  money  and  then  get  more 
chickens." 

"Perhaps  she  could  do  some  of  these  things,"  acknowl- 
edges the  teacher,  "but  she  wished  to  help  her  mother  in 
another  way;  she  thought  she  would  like  to—"  writing 
surprise  "her.  So  she  took  a  long— "  writing  walk,  "out 
to  where  her — '  writing  aunt,  "lived.  When  she  got 
there,  her  aunt  showed  her  how  to  make  a—"  writing  cake, 
"for  her  mother's — "  writing  birthday. 

"  Now  I  should  like  to  have  you  put  these  words  into 
some  stories,  which  you  may  write  for  me  while  I  am  hear- 
ing the  second  division  read  "  announces  the  teacher  as  she 
tunis  away,  leaving  the  young  composers  to  do  their  work 
without  further  assistance. 

Here  are  several  of  the  children's  "stories"  copied  ver- 
batim. 


My  aunt  Katie  has  twelve  little  chickens  and  their  mother  takes  great  care 
of  them. 

Katie  went  to  her  aunt  and  asked  her  if  she  would  show  her  how  to  make  a 
cake  for  it  was  her  birthday. 

My  mother  was  in  great  surprise  when  I  brought  her  a  bag  of  candy. 

Katie  is  a  very  nice  little  girl  for  me  to  play  with.  She  lives  in  the  city  and 
is  very  poor.  To-day  is  her  birthday. 


A    CASE   OF  DISCIPLINE.  3^9 

Katie  will  you  surprise  your  mother  with  a  nice  white  sugar  cake  at  her 
birthday  and  put  it  in  a  large  dish? 

One  morning  I  went  to  see  if  the  chickens  had  laid  any  eggs  and  I  looked 
down  with  great  surprise  and  saw  a  dozen  of  nice  large  eggs. 


A  CASE  OF  DISCIPLINE. 

The  reading  lesson  is  over,  but  Clarence  is  not  yet  dis- 
posed of,  although  the  teacher  takes  no  further  notice  of 
him  until  recess  time  comes.  Then,  rising  with  the  others 
at  the  word  of  command,  great  is  his  astonishment  when 
the  teacher  remarks  quietly,  "Clarence  may  sit  down;  he 
has  no  time  for  play  this  morning,  because  he  has  not  done 
his  work.  Pass !"  Filled  with  chagrin,  the  boy  drops  back 
into  his  seat,  and  his  mates  file  out. 

As  the  last  child  of  the  last  line  steps  over  the  threshold, 
the  teacher,  without  a  word  or  a  look  at  the  culprit,  opens 
the  nearest  window  a  little  wider,  tosses  outside  a  flower 
that  was  withering  at  her  belt,  picks  off  a  dead  leaf  here  and 
there  from  the  plants  in  the  hanging  basket,  and  rearranges 
the  sprays  that  droop  over  its  edge  ;  then  stepping  to  her 
table,  she  selects  another  blossom  from  the  abundance  there 
gathered,  tucks  it  under  the  ribbon  at  her  waist,  and  goes 
on  into  the  adjoining  room,  to  chat  with  the  teacher  there. 

Nothing  of  all  this  has  been  lost  upon  the  disappointed, 
angry  child.  He  saw  that  she  took  pains  to  throw  away 
the  flower  he  brought  her  that  morning ;  he  feels  that  she 
purposely  avoided  looking  toward  him,  and  he  knows  why 
these  things  are  done:— to-  punish  him.  He  can  hear  the 
shouts  of  his  comrades  at  their  play,  and  imagines  that 
they  are  laughing  because  he  is  kept  in.  A  little  bird  sing- 
ing clearly  and  sweetly  in  a  tree  near  by,  seems  to  be 
mocking  at  his  misery.  Even  the  wind  blowing  cool  and 


39°      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

fresh,  through  the  airy  room,  and  rustling  the  leaves  of  a 
book  lying  open  upon  the  teacher's  desk  irritates  him.  So 
hate  takes  possession,  sullenness  sets  in,  rage  gathers,  and 
he  sits  with  lowering  brows  and  pouting  lips,  the  very 
image  of  youthful  rebellion. 

At  last  the  teacher  comes  back,  the  bell  rings,  the  chil- 
dren troop  in,  warm,  rosy,  and  brim  full  of  fun. 

"Clarence,  you  may  go  out  for  five  minutes,"  says  the 
teacher. 

He  doesn't  want  to  go ;  he  hates  her  because  she  speaks 
to  him,  but  something  in  her  tone  and  manner  makes  him 
rise  and  pass  down  the  aisle.  Just  at  this  moment  every- 
body begins  to  sing — 

" I  wish  I  were  a  sunbeam;" 

and  that  he  feels  is  another  insult.    He  sits  down  on  the 
doorstep,  and  spends  his  recess  in  spitefully  kicking  every 
pebble  within  reach,  and  dully  wondering  how  he  could 
ever  have  liked  such  a  hateful  teacher. 
When  the  class  begin  to  sing— 

"  What  do  birdies  dream  of?" 

he  goes  in,  never  looking  at  anybody,  except  one  little  girl, 
who  happens  to  smile  up  in  his  face  as  he  passes  by,  and  at 
her  he  glares  fiercely,  wishing  he  could  give  her  one  good 
push. 

After  the  singing  come  the  lessons,  in  which  he  takes  no 
part,  but  puts  his  head  down  on  his  desk  and  thinks.  He 
cannot  cry;  his  temper  is  too  hot  for  that:  it  burns, — a  slow 
smouldering  fire  of  rage  and  hate.  How  long  it  seems,— 
this  hour!  but  the  end  comes,  and  his  row  is  called.  Ris- 
ing, and  passing  with  the  others  down  the  aisle,  he  IMS 
almost  reached  the  door,  when  he  hears  a  voice— low  yet 
firm,  "  Wait  Clarence;  I  wish  to  see  you," 


A    CASE   OF  DISCIPLINE.  39 1 

His  first  impulse  is  to  run  out  through  the  doorway. 
One  bound,  and  she  could  never  catch  him.  But  he  does 
not  go;  he  turns  instead,  back  to  his  seat,  and  drops  his 
head  again  upon  his  desk.  He  does  not  hear  the  other 
pupils  pass,  nor  does  he  hear  the  door  close  as  the  last  one 
leaves  the  entry,  and  the  teacher's  step  is  unheeded  as  she 
comes  slowly  up  the  schoolroom  to  his  seat.  He  is  so  filled 
with  rage,  that  he  cannot  hear.  But  he  feels  a  light  hand  laid 
upon  his  head,  and  roughly  shakes  it  off.  Then  two  hands 
raise  his  head,  although  he  tries  to  hold  it  down,  and  some 
force  that  he  fails  to  conquer,  makes  him  lift  his  eyes  up  to 
the  teacher's  face.  For  a  moment  he  meets  that  kindly 
steadfast  gaze,  with  one  of  fiercest  hate;  then  the  gentle- 
ness, the  sadness,  the  pity  he  sees  in  that  face  begin  to  ex- 
orcise the  demon  that  possesses  him,  and  before  the  teacher 
takes  her  eyes  from  his,  the  tears  begin  to  rise,  his  lips  to 
tremble,  and  in  another  instant,  his  whole  frame  is  shaken 
with  the  sobs  he  tries  in  vain  to  control.  The  evil  spirit 
has  fled  away. 

Then  the  teacher  sits  down  by  the  weeping  child,  and 
speaks. 

"How  could  you  be  so  naughty,  Clarence,  and  make  us 
both  so  unhappy?" 

"  I-don't-know, "  sobs  the  boy. 

"  Just  think  how  many  times  we  have  talked  about  being 
idle,  and  I  thought  that  you  were  going  to  be  one  of  my 
little  workers;  and  instead  of  that,  I  had  to  speak  to  you 
twice,  you  troubled  me  so  this  morning." 

"I  didn't  mean  to,"  bursts  out  the  child  with  a  fresh 
accession  of  sobs. 

"I  don't  think  you  did, — at   first,"  agrees  the  teacher, 
quick  to  accept  this  childish  apology;  "but  afterward — 
and  she  pauses,  to  let  the  wrong-doer  fill  in  the  picture  from 
his  own  recollection. 

"I  don't  know  what  I  shall  do  with  you,  resumes  the 


392       THE    "QUINCY  METHODS"   ILLUSTRATED. 

teacher,  after  a  little  sad  spell  of  silence,  unless  you  learn 
to  love  work.  Clarence,  did  you  ever  think  what  kind  of 
a  man,  a  lazy  boy  grows  into  ?" 

"No'm." 

"He  doesn't  make  a  good  man,  and  people  don't  love 
him.  You  wouldn't  like  to  be  such  a  man,  would  you  ? 

"No'm,"  responds  the  sober  little  fellow,  and  raising  his 
tearful  eyes  to  her  face,  he  adds,  "  I  won't  Miss  D. ;  truly  I 
am  going  to  work  next  time." 

"I  am  glad  to  hear  it,"  responds  his  mentor  cordially, 
though  it  is  quite  possible  that  knowing  his  inherited  ten- 
dencies she  has  some  doubts  as  to  the  stability  of  his  pur- 
pose, but  she  would  not  for  the  world  dampen  his  ardor  in 
this  hour  of  repentance  and  resolve,  by  allowing  him  to 
suspect  it. 

"Now  let  us  shake  hands,  and  be  good  friends  again, 
and  this  afternoon  we  will  begin  all  over  new,  and  see  what 
we  can  do.  Good-bye." 

His  "  Good-bye  Miss  D."  is  a  little  unsteady,  and  the 
teacher  feels,  as  she  stands  looking  after  his  little  figure 
till  it  disappears  at  the  turn  of  the  road,  that  one  more 
good  fight  has  been  fought,  and  one  more  victory  for  the 
right  has  been  gained. 

Notes  and  Comments. 

"Learning  to  read,"  says  Col.  Parker  in  his  "Talks  on 
Teaching,"  "is  learning  a  vocabulary  of  written  and  printed 
words ;"  a  process  which  this  lesson  well  illustrates.  The 
twelve  words  taught  are  not  new  to  the  children,  because 
these  words  are  already  included  in  their  oral  vocabu- 
laries, but  the  young  readers  are  not  familiar  with  the 
written  and  printed  forms.  To  make  them  so,  is  teaching 
them  to  read ;  and  this  the  teacher  successfully  does.  That 
she  may  be  quite  certain  that  she  has  accomplished  her 


AN  EXERCISE  IN  IMITA  TION.  393 

purpose,  the  teacher  employs  three  tests.  First,  the  recog- 
nition of  the  printed  form  at  sight ;  second,  the  test  of  use 
in  oral  language ;  third,  the  reproduction  in  written  form. 


AN  EXERCISE  IN  IMITATION. 

It  is  just  fifteen  minutes  of  four  o'clock  on  Friday  after- 
noon, when  the  teacher  strikes  her  bell  for  the  busy  little 
workers  in  her  schoolroom  to  put  away  their  slates  and 
pencils,  sit  up  straight,  and  look  at  her. 

"I  have  been  very  much  pleased  with  my  children  to- 
day," announces  the  teacher  to  her  attentive  audience. 

The  flattered  little  folks  immediately  assume  such  a 
triumphant  air  of  duty  done,  that  she  hastens  on  to  the 
next  clause  of  her  discourse,  lest  she  should  be  tempted  to 
laugh  in  their  laces. 

"  I  thought  that  we  would  have  something  especially  nice 
before  we  go  home.  Would  you  like  that  ?" 

1 '  Yes'm !"  ' '  Yes'm !"  "  O  do  I"  "  Do !"  is  the  enthusiastic 
chorus  of  assent  to  her  proposition. 

"  Please  tell  us  another  story  ?"  pleads  a  small  boy. 

"  0  Miss  D. !  won't  you  sing  a  song  for  us  ?"  comes  a  little 
girl's  appeal. 

"  I'd  rather  have  you  say  a  piece  of  poetry,  than  any- 
thing else,"  is  the  plain-spoken  preference  of  a  Scotch  lad, 
whose  mind  is  always  made  up  as  to  what  he  does,  or  does 
not  want. 

"  I  sang  for  you  day  before  yesterday,  and  I  told  you  the 
story  of  the  'Palace  of  Truth,' last  week,  so  I  think  I'll 
recite  a  little  poem  to  you  to-day,  if  you  will  do  something 
for  me.  What  do  you  suppose  it  is  ?" 

"  Recite  some  poetry  to  you,"  guesses  a  diminutive 
Yankee. 


394      THE   "QUINCY  METHODS"  ILLUSTRATED. 

u  That's  just  it.  Let  rae  see  every  one  sitting  tall  and 
straight,  with  his  chest  out,  so  that  he  will  have  a  sweet 
voice.  That  is  better;  now  you  look  charming.  If  you 
only  recite  as  well,  I  shall  be  very  proud  of  you.  I  would 
like  to  hear  the  one  you  learned  last.  Begin !" 

"  *  Seven  times  one,' "  say  the  small  people  in  concert.* 

"  There's  no  dew  left  011  the  daisies  and  clover," 

call  out  the  little  ones,  exultantly ; 

"  There's  no  rain  left  in  heaven. 
I've  said  my  '  seven  times '  over  and  over," 

proclaim  the  children,  and  then  repeat  it  once  more,— 

"Seven  times  one  are  seven." 

As  they  render  stanza  by  stanza  this  exquisitely  child- 
like poem,  their  eyes  sparkle,  and  their  features  light  up 
with  ever- varying  expression:  they  are  full  of  spirit  and 
movement.  The  poem  lives  in  them,  and  they  act  it  out. 
Yet  this  recitation,  so  full  of  real  feeling,  so  free  from 
affected  vivacity,  and  that  labored  ease  common  to  imita- 
tive work,  was  taught  by  imitation;  and  the  pupils  inter- 
pret the  poem  as  the  teacher  would  (only  better). 

The  vast  difference  between  this,  and  the  ordinary  imita- 
tive teaching,  lies  in  the  fact  that  the  children  are  here  led 
to  reproduce  the  teacher's  rendering  unconsciously.  Their 
attention  has  been  called  to  the  thought  only,— or  to  the 
words  as  recalling  the  thought;  but  no  allusion  has  been 
made  to  emphasis,  inflection,  cadence,  or  pause ;  and  their 
knowledge  of  how  to  use  these  elements  of  expression,  has 
been  unconsciously  absorbed. 

When  the  last  stanza,  with  its  jubilant — 

"I  am  old!  you  may  trust  me,  linnet,  linnet— 
I  am  seven  times  one  to-day." 

*  The  pupils  have  been  nearly  the  whole  term,  memorizing  this,  it  having  been 
f^iven  four  linos  at  a  time,  and  the  children  called  upon  to  repeat  wli.-it.  th'-y  li?ul 
learned,  in  some  unoccupied  minutes,  during  each  day. 


AN  EXERCISE  IN  IMITATION.  395 

has  been  given,  the  dramatic  little  reciters  having  finished 
their  part  of  the  entertainment,  wait  for  the  promised  reci- 
tation from  the  teacher. 

Stepping  forward  a  pace,  she  stands,  for  perhaps  a  second, 
looking  straight  into  the  eyes  of  the  children,  as  if  she  loved 
them ;  then  without  a  word  of  preface  she  recites  Words- 
worth's "Pet  Lamb"  in  her  very  best  style.  As  this  is  un- 
commonly good,  she  holds  her  listeners  from  the  first  word 
to  the  last,  and  then  breaks  the  spell  by  asking,  "How 
many  would  like  to  take  that  for  our  next  poem  ?"  The 
vote  is  overwhelmingly  in  favor.  ' '  Very  well ;  let  us  be- 
gin to  learn  it.  Here  is  the  first  stanza, "  repeating— 

"  '  The  dew  was  falling  fast,  the  stars  began  to  blink  ; 
I  heard  a  voice:  it  said,  "  Drink,  pretty  creature,  drink!" 
And  looking  o'er  the  hedge,  before  me  I  espied 
A  snow-white  mountain  lamb,  with  a  maiden  at  its  side.'  "      . 

"What  time  did  all  this  happen,  children  ?"  is  her  first 
leading  toward  the  thought. 

"  In  the  evening,"  is  the  ready  chorus. 

"How  do  you  know  that  ?" 

"  Because  the  stars  were  out,"  argue  the  small  logicians. 

"In this  stanza  it  says — '  The  stars  began  to  blink: '  what 
does  that  mean?" 

"  To  shine,"  states  one. 

"  To  wink,"  conjectures  another. 

"To  twinkle,"  hazards  a  third. 

"I  think  that  the  last  is  the  best  meaning,"  decides  the 
teacher,  immediately  reciting,  the  four  lines  again.  "  Who 
can  tell  me  what  was  heard  in  the  evening?"  Nearly  every 
one  apparently,  and  Mollie  is  selected. 

"  Somebody  told  the  lamb  to  drink,"  is  her  version. 

"  Who  told  the  lamb  to  drink?    Any  one." 

"  A  maiden!"  is  the  assertion  in  concert. 

"That  means?"  interrogates  the  teacher. 

"  A  little  girl,"  explains  the  class. 


THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  What  color  was  the  lamb?" 

"White." 

"  How  white?" 

"As  white  as  snow." 

"  Yes,  I'll  say  it  once  more ;"  which  she  does,  following  the 
repetition  instantly  with  the  query,  "  Where  was  the 
lamb?" 

"  Behind  the  hedge,"  report  the  children. 

"So  it  was.  Now  I  am  going  to  repeat  it  again,  and  if 
any  of  you  can  say  it  with  me,  you  may. " 

All  eyes  are  fixed  upon  the  teacher,  and  most  of  the  lips 
move  at  intervals  during  the  rendering  of  the  lines,  but 
only  a  few  voices  are  heard. 

"That  is  good  for  the  first  time,"  concedes  the  teacher 
encouragingly.  "  Let  us  try  once  more." 

Nearly  every  one  succeeds  now,  in  remembering  some- 
thing of  the  stanza,  and  the  phrase — "Drink,  pretty  crea- 
ture, drink !"  having  caught  their  fancy,  is  given  with  quite 
a  full  chorus. 

"Monday,"  promises  the  teacher,  "I'll  recite  it  to  you 
again."  Just  here  the  gong  for  dismissal  strikes,  stiffening 
up  the  limp  backs  like  an  electric  shock. 

"Good  afternoon,  children,"  says  the  teacher  cordially, 
and  the  affectionate  little  people  call  back,  as  they  throw 
her  a  kiss,  "Good  afternoon,  Miss  D." 

A  moment  after,  there  comes  the  tap  of  a  drum  upon  the 
stairs.  The  class  still  sitting,  whirl  to  the  right.  Another 
drum  tap,  and  they  rise  like  one  body.  The  drum  begins 
to  beat,  and  the  class  to  march.  The  five  rows  fall  into  one 
long  line,  which  as  it  passes  over  the  threshold  into  the 
hall,  divides  in  two,  the  girls  turning  toward  the  left,  and 
the  boys  to  the  right,  to  reach  the  hooks  where  their  hats 
are  hung.  When  these  are  on,  the  pupils  rearrange  them- 
selves in  double  file,  the  boys  marching  shoulder  to  shoul- 
der out  one  doorway,  as  the  girls  file  out  the  other. 


CHAPTER    VI. 

LANGUAGE.— A  LESSON  WITH  A  MORAL. 

THE  circumstances  under  which  the  following  lesson  was 
given  are  these. 

A  visitor  to  the  school — an  experienced  teacher  under  the 
old  regime,  but  entirely  unaccustomed  to  the  new  ways  of 
working,  although  an  enthusiastic  believer  in  them — asked, 
and  obtained  permission  to  conduct  an  exercise  in  composi- 
tion writing,  with  the  pupils  of  a  certain  room. 

The  lesson  as  given — though  a  sample  of  unskilful  teach- 
ing—is presented  for  two  reasons.  First,  because  it  strik- 
ingly illustrates  what  should  not  be  done  in  the  beginning 
of  written  language  work;  and  second,  because  it  empha- 
sizes— by  force  of  contrast — the  fine  points  in  the  exercise 
which  follows  this. 

The  three  worst  faults  of  this  lesson  are,— first:  too  many 
subjects  of  thought  presented,  resulting  in, —second:  a 
partial  development  of  each  subject;  consequently  allow- 
ing, third :  too  wide  a  range  for  the  writers. 

PURPOSE  OF  THE  LESSON.— To  give  the  children  something 
to  write  about. 

PREPARATION  MADE  BY  THE  TEACHER.— (I)  Thinking  up  what 
to  say  to  the  children. 

(2)  Selecting  a  story  to  tell. 

(3)  Bringing  a  picture  to  present  to  the  class. 
PREPARATION  MADE  BY  THE  PUPILS.— First.  Whatever  ability 

they  have  acquired  to  observe  closely. 


39$      THE   "QUINCY  METHODS"  ILLUSTRATED. 

Second.  Every  bit  of  training  in  consecutive  thinking 
that  they  have  ever  had. 

Third.  All  the  power  of  expression  in  written  language 
which  they  have  gained. 

PLAN  OF  THE  LESSON.—  Open  the  exercise  with  a  conversa- 
tion which  will  lead  the  children  to  ask  for  a  story.  Then 
narrate  the  story  of  "  The  Rabbits. "  Follow  this  with  the 
presentation  of  the  picture.  Afterward  tell  the  class  the 
purpose  for  which  their  stories  are  wanted,  in  order  to  make 
them  anxious  to  do  their  best. 


THE  LESSON. 

The  regular  teacher— Miss  D. — directs  the  entire  class 
to  put  away  everything  except  slates,  and  pencils,  and  to 
sit  up  in  the  attitude  of  attention.  She  then  retires  to  the 
rear  of  the  room,  out  of  the  range  of  the  pupils'  vision,  in 
order  to  throw  the  class  more  completely  into  the  hands  of 
the  temporary  teacher. 

This  individual,  who  has  been  in  the  room  before,  and 
who  is  therefore  not  an  utter  stranger  to  the  children, 
comes  forward  smilingly,  and  says,  "Miss  D.,  I  haven't 
been  introduced  to  these  little  folks." 

"  Does  any  one  know  who  this  lady  is?"  inquires  Miss  D. 
Several  hands  go  up. 

"What  is  my  name?"  asks  the  new  teacher,  of  a  little 
maid  near  by,  who  looks  as  if  she  wished  to  tell, 

"Miss  X.,"  is  the  assured  reply. 

"  How  did  you  happen  to  know?"  pursues  the  questioner. 

"My  sister  told  me." 

There  is  no  disputing  either  the  fact  or  the  authority,  so 
Miss  X.  bethinks  herself  of  her  first  point,  and  proceeds  to 
make  it  thus:  "What  could  T  do  for  you  that  you  would 
like?" 

This  is  such  an  unexpected  query,  to  come  from  a  stran- 


LANGUAGE.— A   LESSON    WITH  A    MORAL. 

ger,  that  their  usual  alertness  deserts  these  self-possessed 
little  people,  for  a  moment ;  but  only  for  a  moment ;  then  a 
voice  suggests  laconically,  "  Write." 

"I  am  not  a  good  writer,"  confesses  the  new  teacher, 
"I  shouldn't  wonder  if  you  could  write  better  than  I  can. 
Isn't  there  something  else  I  could  do  that  would  please 
you?" 

"Tell  us  a  story!"  exclaims  a  bright-eyed  little  girl  in  a 
back  seat. 

"Yes,  tell  us  a  story!"  comes  from  all  parts  of  the  room; 
and  one  demonstrative  child,  catching  up  Miss  X.'s  hand 
that  happens  to  be  resting  upon  her  desk,  caresses  it  softly 
as  she  pleads,  "  O  please  do!  please!" 

"I  don't  know  what  kind  you  like,"  prefaces  the  new 
teacher,  "  so  perhaps  I  shall  not  suit  your  taste,  but  I'll  tell 
you  one  that  I  think  is  good.  But  before  I  begin,  let  me 
ask  you,  where  do  you  suppose  I  got  it?" 

"Out  of  a  book,"  is  the  first  guess. 

"No." 

Then  follows, —"Out  of  a  paper." 

"No." 

"  Out  of  the  Spice  Box."  * 

"No." 

"Out  of  the  Patriot."  ^ 

"No." 

"  Out  of  your  brain." 

"  No,  somebody  told  me." 

"Oh  I  know!    MissD.?" 

"No!" 

"  Mr.  B. "    (The  Superintendent.) 

"No." 


*  A  small  sheet  published  monthly  by  a  grocery  firm  as  an  advertisement, 
and  distributed  gratuitously, 
t  The  local  paper. 


400      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

"Your  sister." 

"I  haven't  any  sister." 

44  You  heard  it  when  you  went  to  school,"  hazards  one  of 
the  eager,  curious  roomful. 

"No;  that  was  too  long  ago." 

"  You  read  it  in  a  book." 

"No;  I  couldn't  do  that,  because  it  never  was  in  a  book." 

"  You  heard  it  at  home." 

"No." 

"Then  you  heard  it  when  you  were  visiting,"  reasons  a 
thoughtful  looking  little  fellow,  drawing  his  inference  with 
ready  accuracy. 

"Yes,  and  how  large  do  you  think  the  person  was  who 
told  me?" 

"As  large  as  Miss  B."  (the  Primary  principal,  and  to 
their  minds  a  model  in  every  way). 

"No,  not  nearly  so  large." 

"As  little  as  Miss  J."  (the  smallest  teacher  in  the  build- 
ing). 

'  *  No,  smaller  yet,  it  was  a—" 

"Little child,"  chorus  the  young  guessers  with  one  accord. 

"Yes,  a  little  girl,  about  as  tall  as  you  are,"  indicating 
one  close  at  hand.  "How  old  are  you?" 

"Eight  years,"  affirms  the  small  maid,  rising  instantly, 
and  standing  beside  her  seat  as  she  gives  her  answer. 

"This  girl  hadn't  lived  quite  as  long  as  you  have;  she 
was  one  year  younger.  She  was — "  looking  toward  the 
class,— "Seven,"  is  their  brief  conclusion. 

"Yes,  and  this  was  the  story;  she  made  it  up  herself." 

"Once  upon  a  time  there  were  two  rabbits.  They  were 
the  Father  Rabbit  and  the  Mother  Rabbit,  and  they  had— 
how  many  Baby  Rabbits  do  you  guess?" 

"Three!"  "Seven!"  "Five!"  "Two!"  "Six!"  "One!" 
"Four!"  call  out  the  juvenile  Yankees,  glad  of  an  oppor- 
tunity to  exercise  their  native  talent. 


LANGUAGE.—A   LESSON    WITH  A   MORAL.       4O1 

"There  were  five,"  proclaims  the  narrator,  "all  white, 
with  what  colored  eyes?" 

"Pink!"  predict  the  tiny  zoologists. 

"Yes,  and  these  rabbits  lived  in  a  hole  in  the  ground,  in 
a  spot  where  there  was  plenty  to  eat.  But  they  did  not  'like 
this  place,  for  all  that,  because  it  wasn't  pleasant.  I  don't 
believe  that  you  could  ever  imagine  what  the  trouble 
was." 

"Because  the  dirt  fell  down!"  conjectures  a  boy,  too 
eager  to  see  that  he  is  interrupting. 

"  That  wasn't  it,"  denies  the  new  teacher,  smiling  at  his 
eagerness. 

"  It  was  too  small,"  presumes  another. 

"They  didn't  mind  that,"  asserts  the  narrator. 

"I  think,"  ventures  an  interested  little  miss,  "that  it 
was  because  there  weren't  any  flowers  there." 

"That  was  just  it,"  acknowledges  the  story-teller. 
"These  little  creatures  loved  flowers  and  trees  so  much,  that 
they  didn't  feel  happy  away  from  them.  So  the  Baby  Rab- 
bits teased  the  Mother  and  Father  Rabbit  to  move ;  and  at 
last  they  did,  and  went  to  live  in  a  lovely  hole  just  at  the 
foot  of  a  tree,  that  stood  in  the  middle  of  a  flower-garden." 

"I  guess  the  Baby  Rabbits  had  a  good  time  then,"  pre- 
dicts a  small  soothsayer,  who  is  completely  absorbed  in  the 
story. 

"Yes,  they  were  very  happy  for  a  while,  until  they 
found  out  that  they  couldn't  get  anything  to  eat  around 
there.  The  Father  Rabbit  and  the  Mother  Rabbit  hunted 
and  hunted,  but  they  couldn't  find  a  bit  of  food,  and  the 
Baby  Rabbits  got  so  hungry,  that  they  thought  they  should 
starve,  and  began  to  cry. " 

Here  the  new  teacher  finds  that  the  sober  faces,  and 
sympathetic  "Oh  dears!"  are  working  too  strongly  upon 
her  risibility,  and  hastens  on.  "Just  then,  who  do  you  sup- 
pose came  along?" 


4O2      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"  A  hunter!"  prophesies  one,  with  tragedy  in  his  voice. 

"No." 

1  'An  Indian,"  forebodes  another  looking  very  serious. 

"No,  it  wasn't." 

"It  might  have  been  a  dog,"  alleges  a  sensible-looking 
little  fellow,  who  hasn't  spoken  before. 

"  Yes,  it  was  a  good,  kind  dog,"  acquiesces  the  new  teach- 
er, "and  when  he  heard  the  Baby  Rabbits  crying,  he  asked 
the  Mother  and  Father  Rabbit,  what  the  trouble  was,  and 
they  told  him  that  their  young  ones  were  hungry.  Then 
the  dog  turned  round,  and  went  straight  home  and  brought 
back  some— guess  what? — for  the  rabbits." 

"Bread!"  "Beetsl"  "Clover!"  "Cabbage!"  are  the 
instantaneous  answers,  all  negatived  by  the  narrator,  who 
affirms  impressively,  "Meat  and  potatoes." 

The  astonishment  of  her  small  listeners  is  slightly  tinc- 
tured with  doubt,  which  a  boy  voices  by  insisting  bluntly, 
"  Rabbits  don't  eat  potato  and  meat." 

"I  know  they  don't,"  meekly  admits  the  new  teacher, 
"  but  the  little  girl  who  told  me  the  story  lived  in  a  city, 
and  she  thought  that  rabbits  ate  the  same  things  that  dogs 
did,  and  she  said  that  the  rabbits  were  very  glad  to  get  this 
food  that  the  kind  dog  brought  them,"  hurries  on  the 
troubled  story-teller,—  fearful  of  losing  her  hold  upon  her 
auditors—"  and  they  ate  it  all  up.  Now  after  the  dog  saw 
the  poor  little  starved  things  eating,  he  went  home,  into  his 
house,  and  laid  down,  and  went  to  sleep.  After  a  while  he 
thought  in  his  dream  that  he  heard  a  noise,  and  it  woke 
him;  and  thore  he  saw — " 

"  The  Baby  Rabbits!"  anticipate  the  children,  taking  their 
cue  at  once. 

"Yes,  they  had  come  to  see  him,  and  had  brought  him 
what?" 

"  Nuts,"  calls  out  a  voice. 

"No." 


LANGUAGE.— A    LESSON    WITH  A   MORAL.       403 

"Potatoes  and  meat,"  supposes  the  young  objector  to 
that  sort  of  food  for  rabbits. 

"  No;  they  had  eaten  all  of  that  themselves,  they  were  so 
hungry.  I  hardly  think  you  would  guess  this,  and  so  I'll 
tell  you.  But  first,  how  many  Baby  Rabbits  were  there?" 

"  Five." 

"Yes,  and  there  they  sat  on  their  hind  feet;  what  color 
were  they?" 

"White," 

"  And  their  eyes?" 

"Pink." 

"  Can  you  see  how  they  looked?" 

"  Yes'm !"  in  solid  chorus* 

"  Well,  the  cunning  little  creatures  sat  there  all  in  a  row, 
each  holding  a  bouquet  of  flowers  in  his  right  paw. " 

"They'd  brought  them  to  the  dog,"  explains  an  eager 
little  maiden. 

"  Yes;  what  do  you  think  they  did  that  for?" 

"Because  they  were  so  glad,"  expounds  one. 

"Because  they  were  so  thankful,"  interprets  another. 

"That's  what  I  think.  Now,  how  do  you  like  the  story 
that  the  little  ^seven-year-old  girl  told  me?" 

"  I  like  it,"  is  one  emphatic  answer. 

"I  think  it's  good,"  pronounces  a  second  critic. 

* '  I  wish  she'd  make  up  some  more, "  desires  a  third. 

"  Now  children,  how  long  do  you  suppose  you  will  re- 
member me?" 

"As  long  as  you  live,"  declares  a  small  boy  instantly  and 
with  great  warmth  of  expression. 

"  Will  you?"  doubts  the  new  teacher,  much  amused  at 
the  truly  masculine  readiness  and  fervor  of  his  protestation. 

"As  long  as  I  live, "  promises  the  affectionate  little  girl 
on  the  front  seat. 

"I  fancied  you  would  soon  forget  me,"  Miss  X.  goes  on, 
"  and  so  I  have  brought  you  something  to  help  you  re- 


404      THE    ' '  Q  UINC  Y  ME  THODS "   ILL  US  TRA  TED. 

member.  It  is  a  picture  to  hang  on  the  wall  of  your  school- 
room, and  when  you  look  at  it,  you  may  think  of  me." 

"Your  picture?"  inquires  an  impatient  youngster,  while 
the  new  teacher  is  unwrapping  the  gift. 

"  No,  something  prettier  than  that ;  here  it  is,"  holding  it 
up.  "What  does  it  say  at  the  bottom,  can  you  all  see  it?" 

"  The  First  Lesson,"  reads  the  class. 

"  What  does  that  mean?" 

"  They  are  learning  their  A-B-C's." 

"What  for?" 

This  is  a  poser  to  these  pupils,  who  have  never  been 
taught  their  letters,  but  after  some  thought,  one  presents 
his  solution  of  the  problem  thus :  "So  they  can  get  them 
out  of  words  (!)." 

"Perhaps.  Now  will  you  take  this  to  remember  me 
by?" 

"  Yes'm!"  in  resounding  chorus. 

"  I  live  a  long  way  from  here,"  continues  the  new  teach- 
er, "in  a  State  called— I  don't  believe  you  ever  heard  of 
it  before,— Pennsylvania.  There  I  meet  a  great  many 
teachers,  and  I  want  to  tell  them  about  the  children  who  go 
to  school  in, — " 

"  Quincy,"  interpolates  the  class. 

"Massachusetts,"  adds  a  voice. 

"If  now,"  pursues  Miss  X.,  "you  write  me  some  very 
nice  stories,  I  shall  take  them  to  show  to  the  teachers  who 
teach  where?" 

"In  Pennsylvania." 

A  £irl  here  puts  up  her  hand,  and  being  called  upon  says, 
"  I  have  a  cousin  who  lives  in  Pennsylvania." 

"Have  you?" 

"/  have  an  uncle  who  lives  there,"  volunteers  a  ragged 
urchin,  without  being  called  upon. 

Is  it  so?  "How  many  are  going  to  try  to  write  a  nice 
long  story  for  me?" 


LANGUAGE.— A    LESSON    WITH  A   MORAL,       405 

All  the  arras  are  up  immediately. 

"I  am  very  glad.  You  may  go  to  work.  What  is  it?" 
speaking  to  a  small  miss  whose  hand  is  fluttering  wildly 
in  the  air. 

"  We  don't  know  what  to  call  it." 

"Anything  you  please,"  responds  the  new  teacher  gra- 
ciously, quite  unconscious  that  she  is  hindering,  instead  of 
helping  the  young  composers. 

"  May  we  write  about  you?"  inquires  a  boy,  who  with  a 
number  of  others,  does  not  manifest  the  usual  Quincy 
readiness  to  commence  to  write. 

"Yes,  if  you  like,"  smilingly  acquiesces  Miss  X.,  after  a 
slight  hesitation, 

This  permission  is  evidently  a  help  to  the  slow  beginners 
and  they  start  off  directly  it  is  gained. 

"I. don't  know  how  to  write  your  name,"  complains  a 
troubled  little  one. 

"  I'll  put  it  on  the  board  for  you,"  answers  the  new  teach- 
er, placing  it  there  in  her  very  best  handwriting.  "Any- 
thing more?" 

"You  didn't  tell  us  how  old  you  are,"  observes  a  speci- 
men of  Young  America,  who  is  possessed  of  an  inquiring 
turn  of  mind. 

"Didn't  I?  How  old  do  you  think  I  am?"  asks  Miss  X., 
appealing  to  the  class,  curious  to  know  their  ideas  upon  the 
matter. 

"Seventeen,"  surmises  one  of  the  older  children. 

"I  am  older  than  that,"  rejoins  Miss  X.  laughingly. 

"  Eighteen!"  decides  the  class  without  one  dissenting 
voice. 

"  Older  than  that,"  reiterates  the  new  teacher. 

"Nineteen!"  chorus  the  children. 

"No,  I  am  older  than  that,  but  I'll  tell  you  what  to  do," 
interposes  the  new  teacher,  seeing  them  making  up  their 
mouths  to  say  twenty;  "If  you  want  to  write  anything 


406     THE    ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

about  my  age  in  your  stories,  put  in  them  how  old  you 
think  I  am.    Will  that  suit  ?" 

"Yes'm,"  agree  the  small  inquirers  after  useful,  and  enter, 
taining  knowledge,  and  settle  down  to  their.work. 

No  further  conversation  occurs,  until  a  boy  calls  upon  the 
new  teacher  to  spell  Pennsylvania. 

"Certainly,"  she  replies.  "P-e-double  n  Penn,  s-y-1  syl, 
Pennsyl,  v-a  va,  Pennsylva,  n-i-a  nia,  Pennsylvania." 

The  little  fellow  lays  down  his  pencil,  and  stares  at  her  in 
blank  amazement. 

"Can  you  spell  it  now?"  she  asks,  as  she  finishes  the  final 
pronunciation. 

"No'm;  it's  too— fast,"  explains  the  boy. 

"Was  it  ?  Then  I'll  spell  it  more  slowly,"  volunteers  the 
accommodating  new  teacher,  beginning,— as  the  boy  picks 
up  his  pencil,  and  sits  ready  to  write.  "P-e-double  n  Penn, 
s-y-1  syl, — v-a  va,— n-i-a  nia.  Pennsylvania." 

"That's  too  fast,  too,"  insists  the  boy,  who  has  not  made 
a  letter,  but  has  sat  all  through  the  spelling  with  uplifted 
pencil,  looking  straight  in  her  face,  as  if  dazed. 

"Now  I'll  try  once  more," consents  Miss  X.,  "  and  make  it 
very  slow.  P — e — double — n, " — Just  here  a  peculiar  sound  as 
of  smothered  sobs,  arrests  her  attention,  and  looking  up,  she 
encounters  the  astonished  gaze  of  fifty  pairs  of  wide-open 
young  eyes,  and  behind  their  owners  she  beholds  the  regular 
teacher,  evidently  struggling  with  an  uncontrollable  fit  of 
laughter.  As  soon  as  she  can  command  her  voice,  the 
teacher  of  the  room  steps  to  the  side  blackboard  and  says, 
"  This  is  the  way  Pennsylvania  looks,  children,"  writing  the 
word  as  she  speaks. 

Suddenly  it  dawns  upon  the  bewildered  Miss  X.,  that  these 
children  have  never  heard  any  oral  spelling,  and  do  not 
even  know  the  names  of  all  the  letters,  not  having  been 
taught  the  alphabet.  They  learned  to  spell  with  their  fin- 
gers (holding  pencil  or  crayon),  instead  of  their  tongues, 


LANGUAGE— A    LESSON    WITH  A   MORAL.       407 

and  the  absurd  process  of  calling  the  names  of  the  letters  of 
a  word,  was  to  them  an  incomprehensible  jargon. 

No  wonder  the  nawe  little  innocents  thought  it  was  ' '  too 
fast"! 

Half  amused,  half  vexed  at  her  stupid  blunder,  the  new 
teacher  concludes  to  run  no  further  risk  of  embarrassing 
episodes,  and  makes  at  once  her  parting  speech. — "I  know 
you  will  write  me  some  nice  stories,  children,  so  I  will  leave 
you  now  and  call  to-morrow,  and  get  them  from  Miss  D. 
Good-by." 

"  Good-by,  Miss  X. !"  is  the  children's  chorus,  and  with  a 
bow  she  passes  out,  leaving  them  once  more  in  the  hands  of 
their  own  beloved,  and  skilful  teacher. 


Notes  and  Comments. 

The  pupils'  expression  is  the  means  by  which  the  teacher 
knows  the  pupils'  thought.  To  read  what  these  children 
wrote,  is  like  looking  in  upon  the  workings  of  their  indi- 
vidual minds. 

Take  Number  One— for  instance.  It  is  plain  that  the 
writer  had  but  a  single  idea,  concerning  each  of  the  points 
touched  upon  in  the  exercise,  but  these  ideas  were  perfectly 
distinct  and  clear. 

NUMBER  ONE. 

MissX . 

I  think  that  she  is  seventeen  years  old.  Miss  X.  told  us  a  story  about  five 
rabbits.  She  has  on  a  silver  watch.  She  gave  us  a  pretty  picture.  In  the  pic- 
ture there  were  two  little  girls  learning  their  A  B  C's. 

Number  Two  is  a  complete  contrast  in  every  way,  and  is 
an  interesting  example  of  the  worst  outcome  of  this  kind  of 
faulty  teaching.  That  is,  the  young  writer  has  so  many 
different  things  given  him  to  write  about,  that  his  mind 


408      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

wanders  from  one  to  another,  and  thus  he  produces  a  hope- 
lessly mixed  result. 

NUMBER  Two. 

This  morning  we  have  Miss  X.  to  talk  with.  She  is  a  very  nice  lady  and  she  is 
about  twenty-one  years  old.  Miss  X.  is  kind  of  tall.  She  wears  a  red  dress 
trimmed  with  red  velvet.  She  is  a  young  lady.  She  told  us  a  story  about  five 
little  rabbits,  that  a  little  girl  seven  years  old  told  her.  She  has  a  silver  watch 
and  chain.  The  little  rabbits  lived  in  a  hole.  But  they  didn't  like  it.  So  they 
told  their  father  and  mother.  So  they  moved.  She  showed  us  a  picture  of  two 
little  girls  learning  their  A  B  C's.  The  bigest  girl's  name  is  Annie  and  the  littlest 
girl's  name  is  Katie.  Annie  is  learning  Katie  her  A  B  C's.  Miss  X.  has  a  ruffle 
around  her  sleeves. 

Number  Three  is  better  than  either  of  the  preceding. 
The  author  has  more  thoughts  upon  each  subject  than  the 
writer  of  Number  One,  and  shows  less  tendency  to  confu- 
sion, than  the  child  who  wrote  Number  Two. 

NUMBER  THREE. 

We  were  told  a  story  by  Miss  X.  She  is  a  very  nice  lady  and  she  is  about 
twenty  years  old.  She  lives  in  Pennsylvania.  This  story  was  about  five  little 
rabbits,  arid  their  mother  and  father.  Miss  X.  gave  us  a  picture  of  a  boy  and 
a  girl  learning  their  A  B's.  And  this  picture  is  to  remember  ker  by,  we  are  go- 
ing to  hang  it  up  in  the  room.  This  lady  had  a  wine  color  dress  on,  and  her  hair 
was  crimpy.  She  is  very  pretty. 

In  Number  Four  the  writer  selects  fewer  subjects  still, 
and  keeps  each  different  topic  quite  by  itself.  The  style,  in 
its  direct  personal  appeal,  is  truly  "childlike  and  bland," 
and  the  naweU  of  the  phrase  "  us  children,"  very  charming. 

NUMBER  FOUR. 

MissX. 

I  think  you  are  twenty-one  years  old.  You  are  not  very  tall  but  you  are  tall 
enough.  You  have  told  us  children  a  story  about  five  little  rabbits  who  lived  in 
a  hole  in  the  ground  and  did  not  have  anything  to  eat  at  all.  You  said  a  little 
girl  told  you  the  story.  You  said  that  you  would  take  all  the  good  stories  and 
show  them. 


LANGUAGE.— A    LESSON    WITH  A    MORAL.       409 

The  two  following; — Numbers  Five  and  Six — are,  under 
the  circumstances,  really  remarkable  productions ;  proving 
their  authors  to  be  most  emphatically,  clear-headed,  straight- 
forward thinkers.  Number  Five  shows  also,  excellent 
powers  of  observation,  and  for  a  child,  fine  descriptive 
talent.  Number  Six  is,  in  all  probability,  a  better  repro- 
duction of  the  story,  than  many  an  older  person  could  have 
given. 

NUMBER  FIVE. 

On  the  twenty  fifth  of  June  a  lady  came  all  the  way  from  Pennsylvania  to 
Massachusetts  to  see  some  scholars  in  the  Livermore  C  Primary  school.  She 
came  in  our  room  this  morning  and  she  told  us  a  story  about  some  little  rabbits. 
Miss  X.  has  very  long  features.  When  she  speaks  she  is  very  quick.  She  gave 
us  a  picture  to  remember  her.  Miss  X.  is  just  like  Miss  D,  I  think.  She  is 
quiet  in  her  ways.  The  color  of  her  dress  is  wine  color.  Her  hair  is  very 
crimpy.  On  the  skirt  of  her  dress  there  is  box  plaiting.  In  the  waist  of  it 
there  are  stripes  of  velvet.  She  has  a  little  pocket  to  keep  her  watch  in. 

NUMBER  Six. 

I  will  tell  you  a  nice  story  that  Miss  X.  told  us.  She  said  a  little  girl  about 
seven  years  old  told  it  to  her.  She  said  there  were  a  father  and  a  mother  rab- 
bit and  they  had  five  little  rabbits.  They  lived  in  a  nice  hole,  but  there  were  no 
flowers  around  it.  The  little  rabbits  did  not  like  this  place.  So  they  asked  the 
mother  and  father  to  move.  The  large  rabbits  said  they  would.  So  they 
found  a  nice  place  with  some  nice  flowers  around  it.  The  little  rabbits  began  to 
cry.  A  dog  came  along.  He  asked  the  large  rabbits  what  they  were  crying 
for.  The  large  rabbits  said  that  they  didn't  have  anything  to  eat  or  drink.  So 
the  dog  went  back  to  the  house.  He  came  back  with  some  meat  and  potato. 
He  gave  it  to  the  five  little  rabbits  then  went  home  and  went  to  sleep.  He  heard 
a  noise  and  he  opened  his  eyes,  there  were  the  five  little  rabbits  with  a  bouquet 
of  flowers. 

If  it  be  necessary  to  point  out  the  moral  that  adorns  this 
tale,  it  may  be  found  in  that  witty  jingle  of  King  Lear's 
wise  fool : — 

"  Have  more  than  thou  showest, 
Speak  less  than  thou  knowest." 

A  bit  of  advice  that  is  respectfully  commended  to  the  serious 


4 1 0      THE   ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

consideration  of  Miss  X. ,  and  all  the  other  teachers  of  her 
kind. 

N.  B.    These  "  stories"  have  not  been  corrected,  but  were 
copied  exactly  as  written. 


LANGUAGE.— THE  BEGINNING  OF  LETTER  WRIT- 
ING.— ANOTHER  LESSON  WITH  A  MORAL. 

PURPOSE  OF  THE  LESSON.—  Primarily,  to  deepen  the  enthu- 
siasm already  aroused  concerning  punctuality. 

Secondarily,  to  teach  the  pupils  the  form  of  letter- writing. 

PREPARATION  MADE  BY  THE  TEACHER.—  Thinking  out  the  hap- 
py thought  of  using  the  occasion  as  a  device. 

PREPARATION  MADE  BY  THE  PUPILS.—  All  the  capability  for 
enthusiasm  which  they  possessed,  either  by  inheritance  or 
education. 

PLAN  OF  THE  LESSON.— Propose  to  the  children,  that  we 
write  a  letter  to  Miss  L.  telling  her  about  our  punctuality. 
Write  this  letter  on  the  board,  teaching  thereby  the  heading 
and  salutation,  and  their  arrangement.  Then  gain  from  the 
children  the  expression  of  the  thought  for  the  body  of  the 
letter;  leading  the  class — if  possible — to  criticise  the  lan- 
guage, and  present  different  forms  or  phrases,  and  thus  get 
them  to  frame  a  good  sentence.  Afterward  send  for  Miss  L. 
and  give  her  a  hint,  that  she  may  help  to  deepen  the  im- 
pression, that  it  is  a  great  thing  to  be  punctual. 

MEM.— Hope  no  one  will  be  late! 

THE  LESSON. 

Precisely  at  fifteen  minutes  of  two,  the  door  of  the  Second 
Primary  room  in  the  Howe  School  opens  wide,  and  standing 


LANGUAGE.— BEGINNING   OF  LETTER    WRITING.    411 

upon  its  threshold,  is  the  trim  figure  of  Miss  D.,  the  faith- 
ful teacher,  whose  cheery  face  and  genial  manner  has  been 
its  sunshine  for  so  many  years. 

One  by  one,  the  little  people  who  belong  to  her,  leave  the 
play-ground,  and  gather  quietly  within.  Some  go  to  work 
upon  their  blackboard  sketches;  others  wet  their  sponges 
and  clean  their  slates  ;  a  few  fill  the  tiny  bottles  that  serve 
them  as  vases,  with  cold  water,  and  place  in  them,  the  nose- 
gays they  have  brought  to  decorate  their  desks,  while  one 
helpful  little  maid,  rearranges  the  flowers  upon  the  teacher's 
table. 

All  this  time  the  pupils  have  been  coming,  and  in  one 
minute  after  the  gong  strikes  for  the  children  in  the  yard  to 
pass  in  and  those  at  the  boards  to  take  their  seats,  every 
child  but  one,  is  in  his  place. 

"How  many  have  ready  for  me,  the  four-inch  squares, 
that  I  asked  them  to  cut  out  at  home?"  is  the  teacher's 
speech,  as  she  stands  looking  down — with  most  gracious  re- 
gard— upon  her  loyal  young  subjects. 

Nearly  all  signify  that  they  have  the  squares. 

4 'Why  not,  Margie?"  is  the  question  put  to  one  of  the 
small  minority. 

"Because  our  baby  was  sick,  and  I  had  to  rock  her  all  the 
time." 

"I  hope  you  were  quite  willing  to  do  so,"  observes  the 
teacher. 

"  Yes'm, "  responds  the  small  woman  earnestly;  "I  was 
so  sorry  she  was  sick. " 

"  That's  a  loving  sister,"  is  the  cordial  comment.  ''Well 
Robbie,  what  was  the  trouble  with  you?" 

"  I  forgot,"  murmurs  the  boy  dropping  his  head,  and  look- 
ing not  a  little  ashamed  of  his  excuse. 

' '  That  is  bad, "  pronounces  the  teacher  gravely.  ' '  I  never 
knew  a  boy  who  couldn't  remember,  to  amount  to  much 
when  lie  got  to  be  a  man.  Sidney,  how  about  you?" 


412       THE   "QUINCY  METHODS"  ILLUSTRATED. 

"I  didn't  know  anything  of  it;  I  was  absent  whoii  you 
told  us,"  explains  the  boy  addressed. 

"  Oh  yes !  you  had  to  stay  out  to  help  your  father.  Well, 
I  will  tell  you,"  says  the  teacher.  "I  asked  each  of  the 
children  to  draw,  and  cut  out  a  four-inch  square,  at  home, 
and  bring  it  to  me  this  afternoon.  You  may  bring  yours 
to-morrow.  Eva,  Harold,  Fritz,  Ethie,  and  Bruce,  will  you 
please  collect  the  squares,  and  place  them  on  my  table?" 

This  is  soon  done,  though  the  collectors  do  not  work  as 
deftly  as  usual,  their  eyes  being  directed  toward  the  door, 
instead  of  on  the  desks,  where  the  squares  are  lying. 

There  is  moreover,  a  peculiar,  anxious  restlessness  per- 
ceptible among  the  pupils,  which  amounts  almost  to  dis- 
order; one  or  two  of  the  children,  sitting  in  the  first  row  of 
seats  in  line  with  the  open  door,  actually  rising,  and  leaning 
forward,  as  if  to  peer  out  into  the  yard. 

The  teacher  is  too  expert  a  reader  of  her  pupils  to  be  ig- 
norant or  unobservant  of  all  this,  yet  she  seems,— if  there 
be  any  change  in  her  manner — to  be  more  affable  and  smil- 
ing than  common,  and  makes  not  the  slightest  effort  to  quell 
the  rising  excitement. 

This  culminates  an  instant  later,  when  the  children  of  the 
first  and  second  rows,  who  are  stretching  half-way  out  of 
their  seats  to  look  out  of  the  door,  sink  back  with  sighs  of 
relief  echoed  by  all  in  the  room,  as  a  little  girl  appears  in 
the  doorway,  panting  and  out  of  breath,  just  as  the  two 
o'clock  gong  strikes  over  her  head. 

Had  these  been  grown  people,  the  masculine  element 
would  have  stamped  its  feet  and  hurrahed,  while  the  fem- 
inine element  would  have  clapped  its  hands  and  waved 
handkerchiefs,  but  being  only  babies — so  to  speak  -they 
look  straight  to  the  teacher,  to  have  her  say  their  thought 
for  them.  Meantime  she  has  been  explaining  sotto  voce  to  a 
visitor,  the  cause  of  this  commotion. 

"Each  row  has  a  monitor,"  states  the  teacher,  "who 


LANGUAGE.— BEGINNING   OF  LETTER    WRITING.    413 

reports  the  tardy  or  absent  pupils  in  his  line.  We  have 
been  trying  to  get  through  the  month,  without  a  tardy  mark 
upon  the  roll-book,  and  this  was  the  very  last  afternoon. 
The  little  girl  who  came  so  near  being  late,  is  obliged  to  help 
at  home,  and  often  finds  it  difficult  to  be  at  school  on  time. 
The  children  were  so  anxious  not  to  have  their  record  spoiled 
just  at  the  very  last,  that  every  one  was  on  the  watch,  and 
that  was  why  they  acted  as  they  did." 

Turning  now  to  face  her  enthusiastic  little  folks,  the 
teacher  meets  their  unspoken  want  by  saying,  "Isn't  it 
delightful  to  think  that  we  are  through  the  month,  without 
a  single  tardy  mark?" 

"  Yes'm !"  in  emphatic  concord. 

"I  don't  believe  that  any  other  room  has  done  so  well, 
and  I  can't  think  what  Miss  L.*  will  say  when  she  hears  of 
it." 

All  the  faces  fairly  sparkle  with  delight  at  this  great 
praise. 

"I've  thought  of  something  that  we  might  do,"  proposes 
the  teacher,  "if  you'd  like;  write  Miss  L.  a  letter,  and  tell 
her  about  it.  Wouldn't  that  be  nice?" 

"Just  lovely!"  exclaims  a  girl,  before  the  teacher  has 
fairly  finished  her  sentence. 

"Yes'm !"  " Do !"  " Let's !"  coincide  the  others,  making 
quite  a  Babel  of  voices. 

"Very  well;  but  we  must  lose  no  time,  because  we  want 
to  have  it  all  ready  before  she  comes  down,  and  then  I'll 
send  for  her." 

"Oh  goody !"  bursts  out  an  impetuous  young  woman,  who 
claps  her  hands  instantly  over  her  mouth  as  if  ashamed  of 
her  speech. 

"Don't  take  your  slates  yet,"  interposes  the  teacher,  as 
several  prompt  youngsters  reach  for  these  articles;  "let  us 

*  The  principal  of  the  school. 


4H      THE   "QUINCY  METHODS"  ILLUSTRATED. 

make  up  our  minds  what  we  are  going  to  say,  first.  Who 
can  tell  me  what  to  begin  with  ?" 

"You  have  to  write  her  name,"  instructs  one  of  the  older 
pupils. 

"  Yes,  we  must  do  that,  or  she  will  not  know  that  wo  are 
talking  with  our  pencils  to  her :  but  there  is  something  that 
goes  before  the  name,  in  a  letter;  who  knows  what  it  is? 
Ned." 

"You  put  the  date;  my  mother  does,  I've  seen  her," 
directs  Ned. 

"That's  it,"  accepts  the  teacher;  "the  date, — what  is  it, 
class?" 

"  October  twenty-seventh,"  is  the  concerted  answer. 

"Is  that  all?" 

"You  might  put  the  year,"  suggests  a  child  in  the 
corner. 

"What  year?" 

"  Eighteen  hundred  eighty -one,"  say  they  all  together. 

' '  Suppose  Miss  L.  was  at  her  home  in  New  Hampshire, 
and  you  were  writing  to  her,  how  would  she  know  where  it 
came  from?" 

"By  the  postmaster's  stamp,"  asserts  a  boy,  who  has 
evidently  watched  that  official,  when  making  up  a  mail. 

* '  Sometimes  that  gets  rubbed, "  affirms  the  teacher ;  ' '  isn't 
there  a  better  way?" 

"We  could  put  it  inside  the  letter,"  thinks  the  little  girl 
who  so  narrowly  escaped  being  late. 

"Yes,  that  is  what  we  will  do,"  decides  the  teacher,  "and 
we  will  write  it  in  the  upper  right  hand  corner  of  our  slates. 
What  is  it  we  are  to  put  there,  Ikey?"  she  asks,  abruptly 
addressing  a  child  who  has  transferred  a  tiny  bug  from  one 
of  the  flowers  on  his  desk  to  his  hand,  and  is  now  watching 
it  travel  around  his  palm. 

"  The  name  of  the  place  where  we  live,"  repeats  the  young 
naturalist,  without  lifting  his  eyes  from  his  specimen. 


LANGUAGE.— BEGINNING  OF  LETTER    WRITING.    4J5 

"And  what  is  that,  class?" 

"Quincy!"  is  the  answering  chorus. 

' '  Massachusetts, "  adds  that  ubiquitous  pupil,  who  always 
has  something  further  to  say :  in  this  case  it  happens  to  be 
just  what  is  wanted,  consequently  the  teacher  writes — • 
watched  intently  by  all  the  class — Quincy,  then  puts  in  the 
question,— 

"What  mark  here?" 

"A  comma,"  agree  the  children. 

"Shall  I  write  the  whole  word  Massachusetts?" 

"You  needn't,"  explains  a  wise-looking  youngster;  "you 
can  write  it  this  way,"  and  springing  out  of  his  seat  he  steps 
to  the  nearest  board  and  puts  the  abbreviated  form,  (Mass.) 
upon  it. 

"  What  is  the  dot  for,  Ikey?" 

The  child  who  seems  to  be  intent  upon  his  bug,  as  far  as 
his  eyes  are  concerned,  is  evidently  attending  with  his  ears, 
for  as  before,  he  answers  promptly  and  correctly ; — "  Because 
that  is  not  all  of  the  word." 

"Very  well,"  copying  the  abbreviation  beside  the  word 
Quincy.  "I  will  place  the  date  just  below  this,"  observes 
the  teacher,  writing  Oct,  then  pausing  to  fling  this  question 
over  her  shoulder;  "what  shall  I  put  now?" 

"A  period,"  reply  the  class. 

"And  here?"  having  made  the  27. 

"A  comma,"  call  out  the  children. 

"And  last  of  all?"  writing  1881. 

"  A  period !"  comes  the  chorus. 

"  Now,  how  shall  we  begin  our  letter?" 

"We  have  not  had  any  tardy  for  a  whole  month,"  dic- 
tates a  child,  without  a  moment's  hesitation. 

" That's  what  we  are  going  to  say,"  grants  the  teacher; 
"  but  what  shall  we  put  before  that?" 

"Oh,  I  know  now!"  speaks  up  a  little  girl  suddenly; 
"  I  just  remember.  You  ought  to  put  Dear  Miss  L." 


41 6      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

"How  came  you  to  know  that?"  queries  the  teacher. 

"I  saw  it  in  a  letter  sister  Kate  showed  me  to  see  if  I 
could  read  writing,  and  I  did  read  most  all  of  it,''  trium- 
phantly proclaims  the  child. 

"We  will  write  Dear  Miss  L.  on  the  left  hand  side  of 
our  slates,  a  little  lower  down,"  informs  the  teacher  with- 
out further  preliminary,  anxious  to  bring  her  pupils  back  to 
the  point  under  discussion;  adding  for  their  instruction, 
"  look  at  the  mark  I  make  at  the  end.  Now,  how  shall  we 
word  our  letter?  every  one  think  of  a  very  nice  way  to  tell 
Miss  L.  what  we  want  her  to  know." 

This  sets  all  the  busy  little  brains  sentence-making,  and 
perhaps  a  minute  passes,  before  any  hand  goes  up. 

The  first  one  raised,  belongs  of  course  to  the  boy  who  had 
his  ready  before,  and  being  called  upon,  he  submits  it  again. 

"We  have  not  had  any  tardy  for  a  whole  month." 

"Yes,  that's  one  way  of  saying  it, "allows  the  teacher, 
anxious  for  more  material  before  she  begins  to  criticise. 
"Who  else  has  his  sentence  ready;  Melville?" 

"  There  wasn't  anybody  tardy  for  a  month." 

' '  That's  true.    Mamie. " 

"We  all  came  early  to  school  this  month." 

"So  we  did.    Harold." 

"Nobody  was  late  in  our  room  this  month." 

"These  are  all  pretty  good,"  pronounces  the  teacher, 
"but  can't  we  do  a  little  better?  Use  just  as  few  words  as 
possible.  Ettie." 

"We  have  not  had  one  tardy  for  one  month,"  is  that 
small  rhetorician's  idea  of  terseness. 

"You  have  said  one  twice;  you  can  change  that,  Ettie." 

"  We  have  not  had  one  tardy  for  a  month,"  is  the  instanfc 
modification. 

"That  is  better.  Can  any  one  think  how  we  might  im- 
prove Ettie's  sentence  as  she  gave  it  last?  Say  it  again, 
Ettie." 


LANGUAGE.— BEGINNING   OF  LETTER    WRITING.     417 

* '  This  the  little  girl  does,  when  a  hand  flies  up  like  a  flash ; 
and  permission  being  granted,  a  boy  reports, — She  didn't 
say  when  it  was. " 

"How  would  you  put  it?" 

"  We  have  not  had  one  tardy  this  month." 

"I  like  that  correction,"  admits  the  teacher,  "but  the 
sentence  does  not  suit  me  yet.  Mollie,  what  have  you  to 
offer?" 

' '  I  think  we  might  say,  We  have  not  had  one  tardy  boy 
or  girl  this  month. " 

"Yes,  that's — "  begins  the  teacher,  then  catching  sight  of 
a  boy  whose  whole  face  has  lighted  up  with  the  thought 
which  has  come  to  him,  she  leaves  her  own  remark  unfin- 
ished, and  turning  toward  him,  says,  "Well,  Herman?" 

"  We  could  say  child,  and  that  would  be  shorter  than  boy 
and  girl." 

"So  it  would,"  concedes  the  teacher,  bestowing  an  ap- 
proving smile  upon  the  young  thinker.  "Now  say  our 
sentence  for  us,  and  let  us  hear  how  it  sounds." 

"We  have  not  had  one  tardy  child  this  month,"  repeats 
Herman. 

"That  will  do  nicely,"  determines  the  teacher;  "now  I 
will  write  it  just  here  upon  the  board, "  indicating  the  proper 
position  for  the  body  of  the  letter ;  * '  and  you  may  go  di- 
rectly to  work  on  your  slates.  We  are  going  to  write 
this—" 

"Very  carefully,"  promise  the  children  in  concert,  as  they 
place  their  slates  in  position,  and  pick  up  their  pencils. 

.  "I  hope  so,  because  I  want  Miss  L.  to  see  how  much  you 
have  all  improved  in  writing  lately." 

With  this  last  admonition,  the  teacher  leaves  them  to 
their  task,  and  applies  herself  to  the  writing  of  the  sentence 
on  the  board — which  she  does  in  good  style — placing  a  line 
at  the  bottom  of  the  communication,  where  the  signature 
should  be.  After  this,  she  walks  the  aisles,  hovering  over 


41 8      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

the  bowed  heads  of  her  earnest,  and  absorbed  young  pupils, 
as  eager  and  pleased  as  they,  with  the  innocent  little  plot. 

The  small  fingers  get  badly  cramped,  about  this  time, 
while  the  writhing  tongues  and  working  jaws  have  consider- 
able exercise  for  every  child  is  absorbed,  heart  and  soul, 
head  and  hands,  in  doing  his  very  best. 

"You  will  see  where  to  put  your  names,"  directs  the 
teacher  presently,  "if  you  look  at  that  line  below  the  sen- 
tence on  the  board,  and  these  must  be  the  most  beautifully 
written  of  all.  When  you  have  finished,  lay  down  your 
pencils,  put  your  slates  in  position,  and  sit  with  folded  hands, 
that  I  may  know." 

As  soon  as  all  are  in  the  proper  attitude,  the  teacher 
begins;— "When  I  send  for  Miss  L.  and  she  comes  down, 
what  are  you  going  to  say  to  her?" 

"Tell  her  to  look  at  our  slates,"  proposes  the  boy  who 
always  gets  his  word  in  first. 

"Oh  dear!  I  hope  not,"  comments  the  teacher  ruefully. 
Then  as  no  one  else  speaks,  she  adds  suggestively,  "What 
do  you  always  say  to  her,  when  she  comes  in  here?" 

"Good -afternoon!"  "Good -day I"  "Good -morning!"  is 
the  mixed  response. 

"  To  be  sure.    What  then,  will  you  say  this  time?" 

"  Good-af ternoon !"  comes  in  solid  concert. 

"  But  I  don't  like  the  way  you  say  it,"  objects  the  teacher, 
"and  I  am  sure  she  wouldn't.  Play  that  I  am  Miss  L. 
and  you  try  to  bid  me  good-afternoon  as  if  you  were  glad 
to  see  me.  Now ;"— placing  herself  in  the  open  doorway. 

"  Good -afternoon,  Miss  L.,"  is  the  beautifully  modulated, 
and  cordial  welcome. 

"That's  nice  I"  commends  their  critic.  "  What  else  have 
you  to  say  to  me?" 

"Look  at  our  slates,"  demands  one  laconically. 

"We  want  you  to  look  at  the  letter  we  have  written  you 
on  our  slates,"  is  another's  comprehensive  way  of  putting  it. 


LANGUAGE— BEGINNING  OF  LETTER    WRITING.    419 

"Please  look  at  our  slates,"  is  the  gentle  phrase  proffered 
by  a  child  whose  refined  face,  and  quiet  ways  tell  of  happy 
home-influence. 

"I  like  that,"  approves  the  teacher.  "Now  let  us—" 
here  she  pauses  abruptly,  stayed  in  her  speech  by  the 
changed  looks  of 'the  children,  upon  whom  consternation 
seems  to  have  fallen. 

Their  gaze  is  bent  upon  some  object  beyond  her  in  the 
entry,  and  turning,  she  discovers  the  principal,  Miss  L. 
Stepping  to  one  side,  that  her  visitor  may  enter  the  room, 
the  teacher  expects  to  hear  the  accustomed  greeting  from  the 
pupils,  but  they  sit  dumb,  looking  in  an  embarrassed,  stupid 
fashion  from  one  woman  to  the  other;  while  Miss  L.— quite 
at  a  loss  to  account  for  the  perturbation  into  which  her 
appearance  has  thrown  them — waits  silently  for  further 
developments. 

"Why  don't  you  speak  to  Miss  L.  ?"  prompts  the  teacher, 
sorry  for  the  failure  of  their  little  drama, 

" G-G-ood-af tern-noon,  Miss  L.,"  stammer  the  class  in  a 
very  half-hearted  style. 

"Good-afternoon,  children,"  briskly  rejoins  Mi^s  L.  in 
her  most  genial  manner. 

Then  conversation  comes  to  a  stand-still,  and  it  devolves 
upon  the  teacher  to  set  the  ball  rolling  again,  which  she 
does,  by  asking  encouragingly,  "What  were  you  going  to 
say  to  Miss  L.  when  she  came?" 

"Please  won't  you—"  "  Please  to  look  at  our  slates?"  is  the 
roundabout  fashion  in  which  the  confused  little  folks  man- 
age to  make  the  speech,  they  were  rehearsing  so  glibly. 

It  is  quite  evident  that  Miss  L.  not  only  understands  chil- 
dren, but  that  she  comprehends  the  situation,  and  is  enjoy- 
ing it  to  the  full,  for  she  promptly  takes  her  cue,  and  con- 
sents graciously,—"  certainly ;  I  hope  you  have  nothing  bad 
to  show  me. " 

The  pupils  are  rejoiced  to  find  that  they  have  not  betrayed 


42O      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

themselves,  and  to  think  how  surprised  she  will  be,  when 
she  learns  that  she  feared  just  the  opposite  of  the  truth. 
Consequently  they  watch  her  with  ill-concealed  pleasure, 
as  she  steps  forward,  and  takes  up  the  first  slate  in  the  row 
nearest  the  door,  and  begins  to  read  audibly  what  is  written 
upon  it. 

"  '  Quincy,  Massachusetts.  October  twenty -seven,  eighteen 
hundred  eighty-one.'  This  looks  like  the  beginning  of  a  let- 
ter," she  soliloquizes,  loud  enough  for  the  eager  boys  and 
girls  to  hear.  "  *  Dear  Miss  L.,'"  she  goes  on;  "it  must  be 
for  me.  '  We  have  had  one  tardy  child  this  month.' " 

As  she  skips  the  not  everybody  in  the  room  looks  anxious, 
every  face  in  the  room  but  hers  shows  perplexity  for  the 
space  of  half  a  second,  and  then  clears,  as  it  occurs  to  all 
that  Miss  L.  must  have  read  the  sentence  wrong. 

"Look  again,  please — Miss  L.,"  urges  the  teacher,  as  the 
principal  finishes  by  reading  the  name  signed  at  the  end  of 
the  letter;  "  I  think  you  made  a  little  mistake." 

"  Did  I?"  responds  Miss  L. ,  cheerfully ;  "  Let  me  see,"  and 
she  begins  again.  "  '  We  have  not,1 "  emphasizing  the  omit- 
ted worjl,  "  Oh,  yes !  *  We  have  not  had  one  tardy  child  this 
month.'  That's  good,"  she  pronounces,  glancing  down  the 
line;  "it  was  a  nice  idea,"  she  continues,  "to  put  all  the 
prompt  pupils  in  one  row." 

This  speech  creates  a  great  sensation,  all  the  other  chil- 
dren looking  as  if  they  rrnist  speak  out  at  once,  and  tell  her ; 
but  their  teacher  holds  them  silent  with  a  gesture,  and 
requests,  "  We  would  like  to  have  you  read  the  slate  at  the 
head  of  the  second  row." 

"With  pleasure,"  replies  Miss  L.,  and  reads  again; 
"  'We  have  not  had  one  tardy  child  this  month.' "  Her  ex- 
pression as  she  comments,  "What!  another  row  of  good 
children?"  is  gratifying  to  the  small  conspirators,  and  they 
smile  quite  broadly  when  Miss  D.  picks  up  the  slate  at  the 
head  of  the  third  row,  and  asks  Miss  L.  to  read  that  too. 


LANGUAGE.— BEGINNING  OF  LETTER    WRITING.    421 

"Three  rows!"  she  exclaims  with  a  face  of  surprise, 
hastening  to  add;  "all  the  tardy  ones  are  over  there,  of 
course,"  indicating  the  remaining  lines. 

The  children  have  much  ado  to  keep  down  their  mirth  at 
this  idea,  and  watch  her  delightedly,  as  she  takes  up  the 
slate  at  the  beginning  of  the  fourth  row. 

"No  tardy  ones  here,  either?  ah!  I  see,"  shaking  her  head 
with  well  -  simulated  sadness;  "all  the  late  children  by 
themselves:  that's  a  good  plan,  Miss  D." 

The  little  people  are  now  stuffing  their  fists  and  handker- 
chiefs into  their  mouths,  to  keep  from  shouting  outright,  and 
those  in  the  last  line  are  absolutely  all  on  their  feet — while 
she  reads  the  slate  at  the  head  of  their  row — ready  to  burst 
out  the  instant  she  has  read  it,  and  discovered  her  mistake. 
Her  look  of  astonishment,  changing  rapidly  into  one  of 
pleasure  and  approbation,  caps  the  climax  of  the  little 
comedy,  and  the  children  break  out  into  peals  of  laughter, 
in  which  both  teacher  and  principal  join. 

When  this  burst  is  over,  the  mirth  subsides,  but  the  prin- 
cipal's words  as  she  leaves  the  room — "I  am  very  glad,  Miss 
D.,  to  know  that  you  have  such  good  boys  and  girls;  I  am 
truly  proud  of  them,"  raises  the  children  to  the  highest 
pitch  of  enthusiasm. 

"Perhaps  she  is  going  to  tell  Mrs.  0.,"*  conjectures  one 
imaginative  youngster,  as  the  door  closes  after  Miss  L.'s 
retreating  form;  "and  won't  she  wish  that  she  had  such 
nice  children?" 

"Of  course;"  avers  another,  in  the  most  matter-of-fact 
way:  "her  children  couldn't  do  as  well  as  that,  they  don't 
know  enough,  but — "  lifting  his  little  figure  to  its  full  height 
-"we  big  folks  do." 

"I  just  guess,"  hazards  a  third,  "that  the  great  big  boys 
and  girls  in  Miss  K.'s  room,  didn't  go  so  long  without 
somebody's  being  late." 

*  The  teacher  in  the  adjoining  room. 


422      THE   "QUINCY  METHODS"   ILLUSTRATED. 

But  the  enthusiasm  culminates  when  an  earnest  little  fel- 
low rises  to  pledge  himself  impetuously,  "Miss  D. !  I  am 
never  going  to  be  late  again,  as  long  as  I  live." 

"That's  good,"  assents  Miss  D.,  heartily;  "I  hope  you 
won't:  now  we  must  go  to  work,  and  let  me  see  if  my  nice 
children  are  good  workers,  as  well  as  early  comers.  The 
first  division  may  do  what  it  says  on  the  north  black- 
board." 

Turning  to  look,  they  find  this : 

1.  How  many  legs  have  four  frogs  and  three  eels? 

2.  John  is  twice  as  old  as  Henry,  and  Henry  is  nine.    How 
old  is  John? 

3.  How  many  angles  in  two  triangles  and  four  squares? 

4.  A  man  walked  three  miles  east  from  the  schoolhouse, 
and  another  man  walked  four  miles  west.    How  far  apart 
were  they?    (Make  a  picture.) 

"The  second  division  may  pass  to  the  blackboard  slates, 
and  see  how  many  things  they  can  write  about  eighteen, 
before  I  get  there.  The  third  division  may  draw  on  paper 
this  object,"— placing  upon  her  table  in  full  view  of  the  line 
of  sketchers,  a  child's  boot. 

"The  fourth  division  may  provide  themselves  with  paper 
and  lead-pencils,  and  write  me  some  stories  about  anything 
they  please." 

At  this  last  announcement,  the  boy  sitting  in  the  first  seat 
of  the  row  and  the  girl  behind  him,  come  quietly  to  the 
teacher's  table,  open  a  couple  of  drawers,  take  from  one 
some  fine  manilla  paper  cut  in  small  sheets,  (seven  inches 
long  by  four  and  a  half  wide),  and  from  the  other,  a  box 
of  lead-pencils,  all  sharpened  ready  for  use.  These  they 
distribute  down  their  line. 

By  the  time  the  teacher  has  reached  her  mathematicians 
in  the  back  part  of  the  room,  all  the  pupils  in  the  seats  are 
at  work  and  working  too  as  if  they  enjoyed  it. 

A  few  specimens  of  what  was  written  by  the  busy- workers 


LANGUAGE.— BEGINNING  OF  LETTER    WRITING.    423 

of  the  fourth  division,  are  here  given,  and  a  single  sample  of 
the  drawing  done  by  a  member  of  the  third. 

''STORIES." 
i. 

Did  you  hear  it  thunder  ?  What  did  you  do  yesterday  ?  Can  you  get  any 
flowers  this  season  ?  The  birds  are  flying  all  around  everywhere.  I  can  tell 
time  by  the  clock. 

II. 

Mary  went  to  schoo  yesterday,  though  she  had  a  very  bad  headache,*  and 
her  teacher  sent  her  home,  for  she  thought  that  a  little  girl  that  had  a  headache 
ought  not  to  come  to  school. 

My  mother  has  a  lot  of  work  to  do  but  sometimes  I  help  her, 

III. 

We  all  have  come  to  school  this  afternoon  and  I  am  trying  to  do  my  best 
work  and  I  hope  the  others  are  too. 

Miss  D.  asked  the  children  to  bring  her  a  leaf  from  an  elm  tree  but  not  to 
take  it  from  the  tree  in  the  school  yard. 

rv. 

I  have  a  pretty  bird  at  homo  and  when  I  get  there  he  will  sing  sweetly  to  me. 
If  it  rains  or  snows  I  always  go  to  school. 

V. 

I  have  a  brother  at  home  and  his  name  is  Fred.  Last  Saturday  he  made  a 
raft  and  asked  me  if  I  would  come  down  and  see  it.  I  told  him  that  I  would 
and  when  we  got  down  there  it  was  out  so  far  that  we  couldn't  reach  it. 

VI. 

The  muff  is  made  of  fur.  It  is  made  of  beaver  skin.  There  are  two  holes  in 
a  muff  and  they  are  made  to  put  your  hands  in.  The  fur  on  the  muff  is  soft 
and  smooth. 

Notes  and  Comments. 

To  make  a  point  in  morals  whenever  occasion  offers, 
requires  a  high  degree  of  skill.  But  to  seize  each  accident 
and  make  it  serviceable,  as  happily  as  in  the  lesson  here 
described,  demonstrates  a  power  beyond  the  skill  of  the 
worker, — it  shows  the  inspiration  of  the  artist. 

*  This  word  happened  to  be  on  the  blackboard. 


424      THE    "QUINCY  METHODS"   ILLUSTRATED. 


"  TALKING   WITH  THE  PENCIL." 

PICTURE  LESSONS.  —  The  picture  lessons  given  in  this 
grade,  are  quite  similar  in  plan  to  those  of  the  previous 
year,  the  only  difference  being,  that  now,  each  oral  lesson 
is  followed  by  a  written  exercise.  That  is,  the  C  pupils 
talk  about  a  picture,  first  with  their  tongues,  and  after- 
ward, with  their  pencils. 

This  second  form  of  language  work — viz. :  ' '  talking  with 
the  pencil " — may  come  the  same  day,  or  the  day  following 
the  first  lesson,  but  never  immediately  after,  lest  the  chil- 
dren remember  their  phrases,  and  so  fail  to  gain  the  great- 
est amount  of  language  training  possible. 

Two  descriptions  of  the  same  picture,  written  by  pupils 
during  the  Second  Primary  year,  are  here  inserted. 

GRANDPA'S  PET. 

This  is  a  picture  of  a  little  girl  and  her  name  is  Oracle  May.  She  is  not  very 
old.  I  think  she  is  seven  years  old.  She  is  a  very  pretty  little  girl  and  she  has 
very  light  hair.  Gracie  has  a  whit  apron  on  and  a  red  dress.  Her  Grandpa 
is  sitting  on  a  big  squash  and  he  has  a  corn  cobb  in  his  haud  and  there  is 
sweet  corn  on  it.  They  are  in  the  barn.  On  the  floor  of  the  barn  there  are 
lots  of  squashes.  Gracie  has  her  hat  full  of  eggs.  She  is  showing  her  hat  to 
grandpa  and  as  she  shows  it  to  him  he  smiles.  Gracie's  grandpa  has  a  white 
hat  on  and  blue  pants. 

GRANDPA'S  PET. 

One  day  a  little  girl  came  to  visit  her  grandpa.  And  she  was  her  grand- 
pa's pet.  Her  name  is  Annie  Ford.  Annie  was  a  very  clean  little  girl  and  she 
was  a  good  girl  too.  She  wears  a  little  red  dress.  Once  her  grandpa  told 
her  to  take  her  hat  and  find  some  eggs.  She  took  the  hat  and  got  ten  eggs. 
Don't  you  think  she  is  a  smart  girl  ?  When  she  had  lessons  to  learn  she 
li-. i mi  1 1  them  very  well.  Annie  has  a  white  apron  on  and  she  hus  blue  eyes. 
Annie  has  her  yellow  hair  combed.  She  wears  red  stockings  and  black  kid 
r.hoes.  Annie's  grandfather  is  sitting  on  a  squash.  He  has  a  lot  on  the  other 
side  of  the  barn.  Annie's  grandfather  is  old  and  he  is  very  nice  to  her. 


"  TALKING    WITH   THE  PENCIL."  425 

OBJECT  LESSONS. 

Aside  from  the  regular  exercises  in  language,  coming  in 
their  places  in  the  teacher's  plan  of  work,  there  are  many 
excellent  little  lessons  dropped  into  the  pauses  uin  the 
day's  occupation."  The  five  minutes  before  nine  or  two 
o'clock ;  the  minutes  that  the  pupils  sometimes  sit  waiting 
for  the  gong  to  strike,  at  the  close  of  the  sessions ;  the  odd 
intervals  in  the  day's  programme  purposely  left  free  for  a 
general  exercise,  are  always  utilized  by  the  wise  teacher; 
and  often  for  brief  object  lessons,  conducted  in  this  manner. 

One  day  the  teacher  holds  a  conversation  three  or  five 
minutes  long — as  time  serves — with  the  children,  concerning 
an  object.  The  next  day,  or  the  day  after  that,  whichever 
is  most  convenient,  at  some  Busy- Work  period,  the  teacher 
says  to  her  pupils,  "  Write  me  all  you  can  think  of  about " 
— that  object. 

If  the  thing  discussed  be  new  to  the  children,  the  written 
work  is  called  for  on  the  same  day  with  the  oral  lesson, 
but  does  not  follow  directly. 

Here  is  what  a  little  child  found  to  say — with  her  pencil — 
about  a  clock. 

THE  CLOCK. 

The  clock  has  twelve  figures.  It  has  two  hands.  One  of  the  hands  is  little 
and  one  is  large.  The  face  is  white.  It  has  the  Roman  Numerals  on  it.  It 
is  black.  This  clock  is  very  pretty.  It  has  a  little  door.  The  clock  can  tick. 
It  is  a  very  large  clock.  Do  you  see  the  hands  on  it? 

\ 

JUVENILE  WEATHER  REPORTS. 

Another  exercise  in  language  peculiar  to  one  of  the 
Quincy  C  Primary  teachers,  consists  in  calling  upon  the 
pupils  for  reports  of  the  weather. 

She  begins  by  asking  the  children  what  day  of  the  week 
it  is,  then  what  day  of  the  month,  and  occasionally,  she 
asks  the  year.  This  date  she  places  in  her  most  elegant 


426      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

handwriting  high  up  on  the  blackboard,  while  all  the  pupils 
look  on. 

Then  she  inquires  what  kind  of  a  day  it  is.  Immediately 
the  hands  go  up  all  over  the  room,  for  everybody — little  as 
well  as  big— can  talk  about  the  weather.  One  will  say  (pro- 
vided circumstances  warrant),  that  it  is  a  fair  day;  an- 
other, that  it  is  a  clear  day ;  a  third,  that  it  is  a  sunshiny 
day ;  a  fourth,  that  it  is  a  pleasant  day ;  a  fifth,  that  it  is  a 
bright  day,  and  so  on. 

The  different  descriptive  words  that  she  gets— fair,  clear, 
sunshiny,  pleasant,  bright,  etc.,  the  teacher  writes  upon 
the  board  as  fast  as  spoken,  just  below  the  date.  Now 
when  the  time  comes  that  she  needs  Busy -Work  for  any  of 
her  groups,  she  will  say  to  that  division,  "  Write  me  some 
'stories'  about  these  words."  She  receives  in  response  to 
this  request,  various  and  sundry  weather  reports,  which, 
while  they  lack  the  terseness  of  "Old  Prob's"  style,  are 
decidedly  more  interesting.  Here  are  some,  transcribed  as 
written,  at  different  seasons  of  the  year. 

SPRING. 

It  is  pleasant  but  I  think  the  wind  is  a  little  cooler  than  it  was  yesterday.  I 
saw  a  bud  of  a  buttercup  the  other  day  in  the  field  close  by  my  house. 

The  leaves  that  are  on  the  trees  are  green.  It  is  a  lovely  morning  and  the  air 
is  very  cool  and  the  blossom  on  the  tree  is  white.  Don't  you  like  cool  air 
when  you  go  out? 

SUMMER. 

When  Frank  and  I  was  going  down  to  the  beach  to  get  some  shells  it  began  to 
rain  and  we  got  wet.  It  is  June  now  and  the  birds  are  on  the  apple  trees  sing- 
ing a  sweet  song  for  Mary. 

I  saw  a  nice  fresh  buttercup  this  morning  and  I  saw  some  nice  blue  and  white 
violets.  I  picked  some  honeysuckle  for  Mrs.  C. 

AUTUMN. 

It  was  very  damp  last  night  and  when  I  went  up  into  the  woods  I  got  my 
feet  wet.    It  is  very  misty  out  doors  and  I  had  to  wear  my  coat  to  school. 
It  is  very  pleasant  this  morning  and  the  wind  blows  very  hard.    There  are 


"TALKING    WITH    THE   PENCIL."  427 

some  pretty  flowers  in  the  garden.    I  am  going  to  take  my  rake  and  pick  up 
the  dry  leaves  that  are  on  the  road  and  put  them  in  the  stable  for  my  horse. 

WINTER. 

When  I  was  coming  to  school  this  morning  it  was  snowing  very  hard.  It 
is  very  gloomy  to-day  and  it  is  unpleasant  too.  Did  you  see  the  flakes  this 
morning? 

This  morning  the  snow  came  in  large  flakes  but  the  sun  has  come  out  a 
little.  I  hope  it  will  not  rain  to-morrow  because  I'm  going  to  Boston. 


A  CHILD'S  STORY. 

To  get  the  child's  thought  in  the  child's  own  words,  is  the 
first  aim  of  the  teacher  in  this  written  language  work. 
After  she  has  gained  these,  she  can  mould  both  the  thought 
and  its  expression. 

What  more  interesting  illustration  of  the  accomplish- 
ment of  this  primary  purpose  could  be  found,  than  the 
following  "story"  written  by  a  little  Quincy  boy  for  his 
teacher  ? 

"  Once  I  asked  my  mother  how  old  she  was,  and  she  said  she  was  just  as  old 
as  her  little  finger,  and  I  asked  her  how  old  her  little  finger  was,  and  she  said 
it  was  just  as  old  as  she  was.  Then  we  had  a  real  funny  time." 


CHAPTER  VII. 

NUMBER.— AN  EARLY  LESSON  WITH  FIGURES. 

PURPOSE  OF  THE  LESSON.— To  fix  in  mind,  the  combinations 
and  separations  possible  in  the  number  fifteen;  and  to 
train  the  children  to  see  clearly  the  objects  presented  to 
their  mental  vision. 

PREPARATION  MADE  BY  THE  TEACHER.—  Thinking  and  writing 
out  the  plan  of  the  lesson. 

PREPARATION  MADE  BY  THE  PUPIL S.  —All  of  their  previous 
experience  in  number  work. 

PLAN  OF  THE  LESSON.—  Begin  by  adding  one  to  the  last 
number  learned,  to  get  the  new  number.  Then  play  that 
we  go  shopping  in  Boston,  and  by  means  of  this  device, 
make  up  problems  in  multiplication  and  division,  which  the 
children  work  out  with  splints,  afterward  writing  their 
answers  and  the  reasons  why,  on  the  blackboard-slates. 
Next,  have  different  pupils  read  the  work  on  the  board, 
while  the  rest  examine  their  own  states.  Now  have  all 
erase  and  write  again  the  answers,  then  let  each  move  to 
the  next  slate  and  examine  his  neighbor's  work.  After  this, 
have  the  answers  once  more  erased,  and  let  the  children 
give  them  orally.  Follow  with  an  exercise  in  recalling  the 
additions  and  subtractions  in  fifteen,  by  having  two  or  three 
of  the  slowest  ones  take  naps,  while  the  others  hide  some 
of  their  splints,  and  then  let  the  sleepers  tell  how  many 
splints  are  missing.  Give  an  exercise  to  train  the  ear,  and 
close  with  some  examples  to  be  illustrated  on  blackboard 
and  paper. 


NUMBER.— AN  EARLY  LESSON   WITH  FIGURES. 


THE  LESSON. 

"  I'd  like  to  see  the  third  division  in  Number." 

Immediately  a  group  of  children  leave  their  seats,  and 
gather  around  the  low  table  where  the  teacher  stands. 

Watching, — with  a  smiling  face — the  little  ones  as  they 
come,  the  teacher  reaches  a  welcoming  hand  to  the  least 
trusty  of  her  class,  and  dexterously  finds  him  a  place  next 
to  herself;  then  before  an  eye  can  wander  or  a  thought  can 
range,  she  begins — without  a  word — to  set  the  blocks  apart, 
singly  and  in  groups,  the  children  calling  out  as  she  moves 
the  blocks,  "One, — three, — six, — seven, — nine, — ten, — four- 
teen." Speaking  for  the  first  time,  she  says,  placing  it, 
"  Now,  one  more;"  and  the  children  answer,  "  Fifteen." 

"Why?"  is  her  question. 

"Because  fourteen  and  one  make  fifteen,"  instantly 
respond  the  pupils. 

"  Write  it!"  is  the  quick,  low-spoken  command. 

The  group  scatters  instantly,  yet  without  confusion,  each 
passing  to  his  usual  position  at  the  blackboard-slates  near 
by,  where  he  writes  "14  and  1  are  15." 

The  teacher  does  not  move,  but  still  standing  at  her  place 
beside  the  table,  sees  everything  that  is  put  upon  the  board, 
and  presently  observes,  "Somebody  has  made  a  mistake; 
find  and  correct  it." 

In  a  second,  the  child  who  has  made  the  error,  discovers 
his  blunder,  casts  a  swift,  half-ashamed  glance  at  the 
teacher,  and  then  sets  to  work  to  erase  the  figures,  and 
write  the  statement  correctly.  Meantime,  the  other  little 
mathematicians  having  carefully  written  their  sentence, 
after  a  second's  scrutiny  to  be  sure  that  it  is  all  right,  have 
taken  their  places  again  around  the  number  table. 

"  Now  look  out,  for  this  is  a  new  number,"  is  her  friendly 
admonition,  as  she  passes  to  the  pupils  her  box  of  splints, 

^^^?       OT  TUB         ^V^Vk 

ffninvERSiTTn 


43°      THE  "  QUttfCY  METHODS"  ILLUSTRATED. 

from  which  each  takes  fifteen,  to  aid  him  in  working  out 
the  problems  given. 

"  How  many  have  been  to  Boston  lately?" 

"  I  have !"  "  I  have !"  is  the  eager  chorus  suppressed  by 
the  direction, — 

"Talk  with  your  hands,  children,  not  with  your  tongues. 
We  will  all  go  there  shopping,  this  morning.  What  store 
shall  we  visit  first,  Jennie?" 

"I'd  like  to  go  to  Jordan  &  Marsh's." 

* '  Very  well.    What  shall  we  buy  ?    Harry. " 

"Buy  some  toys." 

"Johnnie." 

"I  want  a  pair  of  boots." 

"Patrick." 

"Get  a  drum." 

"  Susie  what  do  you  say?" 

"  We  might  buy  some  cloth." 

"How  much  shall  we  pay  a  yard  for  it,  little  woman?" 

"Three  cents." 

"Children,  how  many  yards  of  cloth  can  we  get  for 
fifteen  cents,  at  three  cents  a  yard?" 

All  rapidly  separate  their  splints  into  threes,  then  raise 
their  hands. 

"Charley." 

"Five  yards." 

"Why?" 

"  Because  there  are  five  threes  in  fifteen." 

"Write  it." 

The  children  drop  their  splints  on  the  table,  and  start  for 
the  board.  In  their  eagerness  to  get  to  their  places,  one 
boy,  hardly  conscious  of  what  he  is  doing,  shoulders 
another  to  one  side. 

"I  wouldn't  push,  if  I  were  a  young  gentleman,"  is  the 
quietly  spoken  reminder,  that  brings  him  to  his  manners 
instantly. 


NUMBER.— AN  EARLY  LESSON    WITH  FIGURES.    43 1 

"I  think  we  will  look  at  the  writing  when  we  get 
through,"  is  the  next  notification,  seemingly  apropos  of 
nothing,  but  really  aimed  at  a  reckless  youngster,  who  is 
putting  his  work  on  the  board  with  more  haste  than  care, 
and  who  hereupon  erases  his  last  figures,  and  makes  them 
over  again,  with  considerable  more  pains. 

''What  else  shall  we  buy?"  is  the  teacher's  query  to  her 
pupils,  when  they  are  all  back  at  the  table  again,  waiting 
with  splints  in  hand.  * '  Carrie. " 

"  Dolls." 

"What  shall  we  pay  apiece  for  them,  Carrie?" 

"Four  cents." 

"That  is  rather  cheap,  but  never  mind.  Who  is  ready 
to  tell  me  how  many  we  can  buy  for  fifteen  cents?" 

The  children  group  their  splints  dexterously,  and  Mary 
is  called  upon. 

"  You  can  buy  three  dolls,  and  have  three  cents  left." 

"Write  it." 

They  go  to  the  board,  and  set  it  down. 

"That  is  all  we  will  buy  there,"  informs  the  teacher, 
when  they  come  back.  "  Where  shall  we  go  next  to  shop? 
Nellie." 

"To  the  Five  Cent  Store." 

"A  good  idea!  How  many  ever  went  to  the  Five  Cent 
Store?" 

Nearly  all,  judging  by  the  show  of  hands. 

"What  shall  we  get,  Arthur?" 

"A  ball." 

"  And  how  much  will  it  cost  us?" 

"Five  cents." 

"  How  many  balls  can  we  buy  for  fifteen  cents?" 

Annie  primly,  "You  can  buy  three  balls  for  fifteen 
cents." 

"Put  it  on  the  board." 

"Where  shall  we  go  now?"  queries  the  teacher  of  these 


432      THE   "QUINCY  METHODS"  ILLUSTRATED. 

wide  awake  little  folks,  as  they  stand  around  her,  when 
this  is  written.  ' '  Mabel. " 

"White's  is  a  good  store." 

"  Yes;  what  do  you  wish  to  buy?" 

"A  hat." 

11  What  will  be  the  price  of  it?" 

"Six  dollars." 

4 '  Then  our  splints  must  be  dollars  instead  of  cents.  How 
many  hats  can  we  get  for  fifteen  dollars?  As  soon  as  you 
find  out,  you  may  write  it  on  the  board. " 

This  they  do  without  the  slightest  reference  to  each  other, 
even  by  a  glance. 

"Let  us  shop  a  little  more  here.  Patrick,  what  would 
you  like?" 

"A  drum." 

"  What  must  we  pay  for  it?" 

"Five  dollars." 

"You  are  going  to  have  a  large  one.  How  many  can  we 
get  with  our  fifteen  dollars?  Johnnie." 

"Three!" 

"Three  what?" 

"Three  drums." 

"Put  it  down." 

They  are  off  like  a  flash,  and  write,—  5)  15  (3 

"How  many  fives  hav*e  we  here?" 

"Three." 

"  A  little  girl  went  into  a  store,  and  saw  four  oranges  on 
the  counter;  she  wanted  to  buy  fifteen,  how  many  more 
would  the  store-keeper  have  to  put  with  these,  to  make 
enough?" 

Class:  "Eleven!" 

"  Tell  it  to  me,  Jennie." 

"  Four  and  eleven  are  fifteen." 

"Write!" 

When  they  return  the  teacher  reports,— "I  had  fifteen 


NUMBER.— AN  EARLY  LESSON    WITH  FIGURES.    433 

cents,  I  lost  six  of  them;  how  many  had  I  left?  Tell  me 
with  your  crayons." 

They  fly  laughing  to  the  board,  and  write, —  15—6=9;  or 
15  less  6  is  9. 

"All  touch  the  first  line  you  have  on  the  board,"  is  the 
next  demand.  * '  Carrie  read  it. " 

She  reads,  "  Fourteen  and  one  are  fifteen."  Each  child 
looks  at  his  own  slate,  and  makes  either  a  cross  or  a 
cipher  opposite. 

"  All  point  to  the  second  line.  Read  it,  Mabel."  In  this 
way,  all  the  work  is  gone  over,  and  examined. 

"  I  wonder  if  you  could  write  the  answers  again?" 

"  Yes'm!"  respond  the  group,  unhesitatingly. 

"  Very  well ;  erase !" 

The  right  hand  row  of  figures  on  each  slate  is  rubbed 
out. 

"  Work  as  fast  as  you  can.  If  you  come  to  anything  you 
don't  know,  go  and  get  your  splints  and  find  out.  Look  at 
the  first  line  and  set  down  the  answer."  They  do  so.  Look 
at  the  last  line  and  write  the  answer." 

This  is  done ;  and  thus  they  continue,  taking  the  lines  al- 
ternately from  the  top  and  bottom, — to  prevent  the  pupils 
from  associating  the  answers  with  their  position  on  the 
board,— until  the  results  are  again  written. 

"  You  may  all  move  down  one  place,  except  Charley  [the 
child  standing  opposite  the  last  slate  of  the  row],  he  may  go 
up  and  take  the  first  place." 

In  this  way  the  spaces  are  exchanged. 

"Examine  carefully  the  work  on  your  new  slate,  and  if 
there  is  anything  wrong,  put  a  line  through,  but  use  no 
erasers.  If  it  is  all  right,  mark  it  100." 

The  little  critics  work  away  busily,  and  soon  all  the  hands 
are  up,  showing  that  they  have  finished  their  inspection. 

"Take  your  own  places.  How  many  had  their  work  cor- 
rect ?  The  whole  class.  Very  well.  Erase  the  answers. 


434      THE   "QUINCY  METHODS"  ILLUSTRATED. 

Tell  me  now,  quickly,  without  writing.  Susie,  the  last  one ; 
— Annie,  the  second  one. " 

When  all  have  been  given,  the  teacher  says,  "  Clean  the 
boards,  and  come  to  the  table.  Nellie  may  go  to  sleep,  and 
the  rest  may  put  some  of  their  splints  away ;  then  she  may 
wake  up,  and  tell  us  how  many  were  put  away." 

Nellie  lays  her  head  at  once  upon  the  table,  with  her  face 
in  her  hands,  and  the  others  expeditiously  separate  their 
fifteen  splints,  holding  a  part  under  the  table,  after  arrang- 
ing the  rest  in  the  shape  of  a  fan  so  that  they  can  be  seen  at 
a  glance. 

"All  ready!"  calls  out  the  teacher,  when  this  has  been 
done. 

Nellie  walks  around,  and  looking  closely  at  the  first  hand- 
ful of  splints,  says,  "Arthur  has  taken  away  six." 

"  That  is  right,"  agrees  the  boy. 

"Jennie  has  taken  aw^ay  four." 

"Wrong,"  declares  Jennie,  and  brings  up  five  splints  in 
her  other  hand  from  under  the  table,  to  prove  her  decla- 
ration. 

After  this,  Nellie  is  a  little  more  circumspect,  and  goes 
the  round  of  the  whole  class  without  another  error,  amidst 
the  most  intense  interest. 

"Now,  Charley  may  take  a  nap,  while  you  hide  some  of 
your  splints,  and  then  he  may  try  to  tell  how  many  you 
must  put  back  to  make  fifteen." 

Immediately  Charley  drops  his  head,  the  splints  are 
shifted,  and  a  part  put  out  of  sight ;  then  the  boy  is  called 
upon  to  tell  what  has  been  done. 

"  Begin  here,"  specifies  the  teacher. 

Charley  scans  the  different  handfuls  of  splints,  and  calls 
out  tersely,  "Three,  five,  nine,  one,  seven,  fourteen,  four, 
five,  nine,  seven,  one,  fourteen;"  while  the  children  whose 
splints  he  reckons,  nod  assent. 

"Very  good,"  concedes    the    teacher.      "Play  that  my 


NUMBER,— AN  EARLY  LESSON    WITH  FIGURES.    435 

splints  are  money,"  catching  up  a  few  and  spreading  them 
in  her  hand.  ' '  How  many  more  dollars  do  I  need  to  buy 
a  fifteen-dollar  picture,  that  I  want  to  hang  up  in  our  school- 
room? Anybody!" 

* '  Nine !"  is  the  instantaneous  chorus. 

"Yes.  Shut  your  eyes,  and  tell  me  what  this  means." 
She  taps  on  the  table  with  a  block  three  times,  then  three 
times  more,  and  so  on  until  she  has  given  fifteen  taps. 
Mary." 

"  Five  threes  are  fifteen." 

"Good!  Listen  again,"  tapping  four  times,  then  five 
times,  and  lastly,  six  times.  "  Annie." 

"Four,  five  and  six  are  fifteen." 

"I  think  so.  How  many  would  like  to  make  pictures 
about  some  stories  which  I  am  going  to  give  you?"  Every 
right  hand  comes  up,  and  every  countenance  glows  with 
pleasure.  "Mabel,  Charley,  and  Annie,  may  put  their  work 
on  these  sheets  of  paper,  and  the  rest  of  the  group  may  go 
tc>  the  blackboard." 

"I  bought  three  tops,"  states  the  teacher.  The  children 
begin  at  once  to  sketch  with  clever  dexterity,  the  desig- 
nated objects,  and  she  waits  till  this  is  done.  "At  five  cents 
each,"  pausing  till  the  little  artists  can  draw  the  cents ;  "and 
three  pencils,"  she  continues  ;— the  children  make  the  pen- 
cils, "at  two  cents  each.  How  much  more  did  I  pay  for  the 
tops  than  for  the  pencils  ?  Write  the  answer  and—'  because.' " 

While  the  class  are  thinking  and  writing  out  their  answers, 
the  teacher  walks  past  the  slates  and  notes  a  poor  figure 
here,  a  crooked  line  of  cents  there,  some  especially  careful 
drawing  or  writing  in  another  place ;  and  occasionally  sug- 
gests a  point  like,— "Don't  forget  the  dot  after  ans.  and 
bee."  (This  last  is  their  abbreviation  for  because.)  "  Have 
you  finished?" 

Seeing  that  all  stand  with  backs  to  the  boards,  as  a  sign 
that  their  work  is  done,  she  puts  her  second  problem, 


43^      THE   "  QUINCY  METHODS''   ILLUSTRATED. 

which  is  this.  ' '  Mary  had  fifteen  cents.  She  spent  three 
for  candy,  lost  two,  and  gave  four  to  her  sister.  How  much 
money  has  she  now?  Work  fast."  This  is  soon  disposed 
of,  and  she  gives  the  next  example. 

"I  have  fifteen  cents.  I  wish  to  buy  oranges  at  three 
cents  each.  How  many  can  I  buy?" 

This  is  easy  too ;  a  moment  of  swift  sketching  and  writing, 
and  they  are  ready  for  the  last  which  runs  thus : 

"If  five  barrels  of  flour  can  bo  carried  on  one  cart,  how 
many  barrels  can  be  carried  on  three  carts?" 

A  few  of  the  carts  are  quite  elaborate  and  really  well  done ; 
one  sketcher  even  attaching  two  fiery  steeds  tandem  to  his ; 
but  the  great  difficulty  is,  to  arrange  the  barrels  just  right, 
some  having  to  make  more  than  one  trial  before  getting  in 
the  requisite  number.  However  the  children  are  accus- 
tomed to  this  work,  and  shortly  accomplish  it,  making 
rather  rough  sketches,  it  is  true,  yet  still  resembling  the 
objects  sufficiently  to  be  recognizable. 

One  of  the  papers  drawn  during  this  lesson,  though  not 
nearly  so  good  as  the  blackboard  sketches,  is  here  repro- 
duced to  give  an  idea  of  what  this  work  is  like. 

As  fast  as  the  pictures  are  finished,  the  teacher  comes 
around,  to  inspect  and  criticise.  When  comment  has  been 
passed,  the  young  artist  with  one  last  fond  look  at  his  crea- 
tion, sweeps  the  eraser  over  it,  rubs  the  board  clean,  and 
goes  to  his  seat  where  Busy -Work  in  designing,  with 
squares  and  triangles  of  colored  paper,  is  all  ready  await- 
ing him. 

Notes  and   Comments. 

The  remarkable  thing  about  this  lesson,  as  seen,  was  the 
lack  of  helpf  illness  on  the  part  of  the  teacher,  and  her  happy 
serenity  of  manner.  Quiet,  yet  alert,  serene  but  forceful, 
with  her  silent  tongue  and  friendly  eyes,  she  was  the  re- 


NUMBER— ONE  MORE  LESSON  WITH  FIGURES.    437 

served  force  of  that  schoolroom;  the  power  that  moved 
everything  within  its  walls.  But  the  children  saw  for  them- 
selves, thought  for  themselves,  and  spoke  for  themselves; 
in  brief,  were  trained  continually  in  that  quality  so  rare, 
and  so  greatly  to  be  desired, — intellectual  independence. 


NUMBER.— ONE  MORE  LESSON  WITH  FIGURES. 

PURPOSE  OF  THE  LESSON.  —  Mainly.  To  familiarize  the 
pupils  with  the  number  twenty-four,  and  prepare  them  for 
twenty-five. 

Incidentally.  To  train  the  children  in  the  habit  of  readi- 
ness, and  in  careful  workmanship. 

PREPARATION  MADE  BY  THE  TEACHER.—  Arranging  the  de- 
tails of  the  lesson,  and  devising  the  written  problem. 

PREPARATION  MADE  BY  THE  PUPILS.— Their  power  to  sepa- 
rate and  combine  rapidly  the  numbers  in  twenty-four,  and 
their  power  to  recall  these  separations,  and  combinations. 

PLAN  OF  THE  LESSON.— First.  Lead  from  twenty-four  to 
twenty-five,  and  give  the  children  problems  in  twenty-five, 
and  twenty-four,  which  one  child  works  out  with  blocks, 
while  the  rest  look  on.  Then  have  three  or  four  write 
the  answers  on  their  blackboard  slates. 

Second.  Write  an  example  containing  several  questions, 
on  the  board,  for  the  pupils  to  read  and  solve,  having  them 
whisper  the  answers  in  my  ear,  and  afterward,  all  write 
them. 

Third.  Examine,  and  number  the  slates,  according  to  the 
care  a,nd  pains  manifested. 

Fourth.  Close  with  some  rapid  oral  work. 


43$       THE    "QCJINCY  METHODS"  ILLUSTRATED 


THE  LESSON. 

"The  first  group  in  number  may  pass  to  their  places." 
As  the  teacher  speaks,  fourteen  little  boys  and  girls  rise, 
step  out  of  their  seats,  fall  into  line,  and  walk  to  the  black- 
board-slates on  one  side  of  the  room,  where,  after  arrang- 
ing themselves  -one  opposite  each  space— they  stand  with 
backs  to  the  board  in  the  best  of  good  positions. 

The  teacher  going  to  the  number  table  close  by,  gathers 
some  blocks  together,  and  setting  off  a  couple,  looks  to- 
ward the  children,  who  say,  "Two;"  then  she  sets  off  four 
more,  and  they  say  "Six;"  and  so  on  until  she  has  set  off 
twenty-four,  when  she  adds  another  block  and  the  claes 
say,  "Twenty-five." 

"How  many  are  there  in  all?"  is  her  first  question. 

"Twenty-five!" 

"Now,  we  will  call  these  cents;  how  many  cents  have 
we?" 

"  Twenty-five  cents  1" 

"I  wish  to  have  you  go  to  Mr.  W.'s  store  with  this 
money,  and  buy  something.  What  would  you  like?" 

"Bananas." 

"Yes;  they  are  nice;  we  will  get  some  bananas  at  so 
many  cents  apiece  [holding  up  five  of  the  twenty-five 
blocks].  How  many  can  wo  buy?  Julia,  come  here  and 
show  us." 

Julia  separates  the  blocks  into  groups  of  five  each,  and 
answers,  "Five." 

"Why?" 

"  Because  there  are  five  fives  in  twenty-five." 

"Julia,  Nellie,  and  Henry,  may  write  that." 

These  turn  to  their  slates,  and  place  upon  them  the  sen- 
tence given,  while  all  of  the  rest  look  on. 


NUMBER.— ONE  MORE  LESSON    WITH  FIGURES.      439 

"If  they  cost  five  cents  apiece,  how  much  would  five 
cost?  Eddie." 

"Twenty -five  cents." 

"Why?" 

"Because  five  fives  are  twenty-five." 

"  Write  it,  Eddie,  Edith,  and  John." 

They  do  so,  and  the  others  watch. 

"I  have  so  many  cents  here,"  pointing  toward  the 
twenty-five  blocks;  "  shut  your  eyes  tightly." 

The  pupils  obey,  when  immediately  the  teacher  takes  one 
of  the  blocks,  and  puts  it  with  the  large  pile  on  the  other 
side  of  the  table. 

"  Now  look,  and  tell  me  what  I  have  done." 

The  children  start  for  the  blocks  the  instant  they  open 
their  eyes,  and  Mary  reaching  the  table  first,  begins  to 
group  the  blocks  in  twos,  the  remainder  of  the  class  look- 
ing on;  but  before  she  places  the  last,  the  pupils,  whose 
eyes  have  outrun  her  hands,  turn  to  the  teacher  and  call 
out,  "  You  took  away  one!" 

"  How  many  are  here?" 

"Twenty-four." 

"  Tell  me  about  it,  Mary." 

"  Twenty-five  less  one  are  twenty-four." 

"  Mary,  Maggie,  and  Frank,  may  write  it.  We  will  sup- 
pose now  that  these  blocks  are  oranges.  How  many  have 
we?" 

Chorus :  ' '  Twenty-four  oranges !" 

"  If  I  want  to  give  you  one  half  of  them,  what  shall  I  do? 
Charley." 

"  Make  two  parts." 

"  You  may  do  it  for  me." 

The  boy  divides  the  group  of  blocks  into  halves. 

"I  will  separate  the  blocks  into  these  two  parts  [eight 
and  sixteen] ;  are  these  halves?" 

"No  ma'am!" 


440      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"Why  not?" 

"  They  have  to  be  equal  parts." 

" Divide  them  in  that  way."  He  does  so.  "Which  of 
these  would  you  rather  have,  Mike?" 

"  I  wouldn't  care  at  all." 

"  Why  not?" 

"Because  one  is  the  same  as  the  other,  sure." 

"Write  what  you  did  on  your  slate,  Charley;  Timmie 
and  Mike  may  place  the  same  on  theirs.  If  you  had 
twelve  apples"  [putting  twelve  blocks  together],  "how 
many  more  would  you  need  to  make  twenty-four?  Susie." 

"Twelve." 

"Why?" 

"^Because  twelve  and  twelve  are  twenty-four." 

"  Write  it,  Susie,  Julia,  and  Edith.  I'd  like  to  have  some 
milk  this  morning,  and  the  milkman  says  he  will  charge 
me  so  many  cents  [showing  seven  blocks]  for  a  quart,  and 
this  is  all  the  money  I  have"  [pointing  to  the  twenty-four 
blocks].  "  How  many  quarts  can  I  get?  Patrick." 

'  *  Three,  and  have  three  over. " 

"  Three,  and  three  what  over?" 

"  Three  quarts,  and  have  three  cents  over." 

"Why?" 

"Because  in  twenty -four  there  are  three  sevens,  and 
three  over." 

"Write  it,  and  John  and  Mary  may  write  it  too.  Now 
let  us  play  that  these  blocks  are  marbles,  and  I  have  how 
many?" 

Class:  "Twenty  four." 

"Yes,  and  I  wish  to  give  you"— turning  to  Timmie — 
"  one  fourth  of  them.  How  shall  I  go  to  work?" 

"  Make  them  into  fourths  Iv  instructs  the  class. 

"  How  many  parts  shall  I  have  then?" 

"Four  parts." 

"  What  kind  of  parts  will  they  be?" 


NUMBER— ONE   MORE  LESSON    WITH  FIGURES.      44! 

"Equal -parts." 

"What  part  of  twenty-four  has  already  been  written, 
children?" 

"  One  half  of  twenty-four." 

u  And  that  was?" 

"Twelve." 

"How  many  fourths  does  it  take  to  make  one  half, 
Edith?" 

"Two  fourths." 

"  Come  and  show  us  with  the  blocks." 

The  little  girl  separates  these  into  four  equal  parts,  then 
puts  two  of  the  four  groups  together,  and  looking  at  them 
after  it  is  done,  answers,  "  Two  fourths  of  twenty-four  are 
twelve." 

"Put  it  on  the  board,  Edith,  Henry,  and  Maggie.  How 
many  parts  have  I  separated  my  twenty-four  blocks  into 
now,  children?"  [dexterously  manipulating  the  blocks]. 

Everybody:  "Eight!" 

"  What  would  you  call  one  of  these  parts?" 

"  Eighths,"  answer  the  class. 

"Let  us  play  that  these  blocks  are  caramels.  Are  you 
fond  of  them,  Henry?" 

"Yes'm." 

"How  many  caramels  have  I  in  each  of  these  eighths?" 

Class :  ' '  Three  caramels. " 

"How  many  of  these  eighths  would  it  take  to  make 
twelve?" 

* '  Four !"  is  the  answer  in  concert. 

' '  Who  will  teU  me  this?    Nellie. " 

"  Four  eighths  of  twenty -four  are  twelve." 

"Write it;  Timmie,  and  Susie,  do  the  same.  I  am  going 
to  think  of  these  blocks  as  twenty-four  dolls,  and  I  wish  to 
make  a  present  of  them  to  twelve  girls,  giving  the  same 
number  to  each.  How  many  will  that  be?  Frank,  take 
the  blocks  and  find  out." 


442      THE    "QUINCY  METHODS"   ILLUSTRATED. 

Frank  works  handily  with  the  blocks  for  a  moment, 
while  the  class  watch,  and  then  answers,  u  Two." 

"How  many  parts  have  you  made?" 

Frank,  after  a  glance  at  the  groups,  "  Twelve."  j 

"  What  is  one  part  called,  class?" 

"One  twelfth." 

"  How  many  twelfths  would  six  girls  have,  Julia?" 

"Six  twelfths." 

"  How  many  dolls?" 

"Twelve  dolls." 

"Why,  Frank?" 

"  Because  six  twelfths  of  twenty-four  is  twelve." 

"  You  mean  that  six  twelfths  of  twenty-four  are  twelve." 
corrects  the  teacher.  "Frank,  Patrick,  and  Mike,  may 
write  it  on  their  slates.  I  have  all  these  cents"  [pointing  to 
the  twenty -four  blocks],  "and  I  want  some  one  to  go  to  the 
store,  and  buy  pickled  limes  at  so  many  cents  apiece"  [hold- 
ing up  two  blocks].  "  How  many  could  you  get,  Charley?" 

"Twelve." 

"Why?" 

"  Because  there  are  twelve  twos  in  twenty-four." 

"Write  it,  Charley;  Nellie,  Edith  and  Julia  may  do  the 
same.  If  I  had  so  many  candy  gooseberries"  [pointing  to 
the  twenty-four  blocks],  "and  gave  one  fourth  of  them 
away,  how  many  would  that  be?  Timmie." 

"  Six  gooseberries." 

"Why?" 

"  Because  one  fourth  of  twenty-four  is  six." 

"Now,  if  I  gave  so  many  away"  [indicating  the  six], 
"how  many  would  I  have  left?  Susie." 

The  little  girl  steps  to  the  table,  moves  the  blocks  for  an 
instant,  and  answers  briskly,  "Eighteen." 

"Why?" 

"  Because  twenty  four  less  six  are  eighteen.* 

"  Henry,  Eddie,  and  Susie,  write  it.     Let  us  play  that 


NUMBER.— ONE  MORE  LESSON    WITH  FIGURES.      443 

these  [the  blocks]  are  pencils,  and  I  wish  to  divide  them 
among  twenty-four  children.  How  many  will  each  child 
have?" 

Chorus:  "One  pencil!" 

"  What  part  of  the  whole  will  that  be,  Mary?" 

"One  twenty-fourth." 

"Why,  John?" 

"  Because  one  twenty -fourth  of  twenty-four  is  one." 

"Write  it,  John;  Mary,  Mike,  Charley  and  Susie  may 
write  it  also.  How  many  of  these  parts  wih1  it  take  to 
make  one  half?  Maggie." 

"Twelve  parts." 

"Why?" 

''Because,  twelve  is  one  half  of  twenty-four." 

"Write  it;  Frank,  Patrick,  and  Timmie,  do  the  same. 
You  may  all  stand  away  so  that  you  can  see,  and  I  will  put 
a  story  on  the  board  for  you,"  announces  the  teacher,  as 
these  children  finish.  The  class  step  out  a  little,  and  she 
writes.  "Bead,  Eddie." 

"I  had  twenty-four  marbles." 

"The  one  whose  name  I  place  here,  may  read  the  sen- 
tence in  which  he  finds  it. " 

"I  gave  Henry  six  of  them,"  is  this  lad's  ready  response. 

"The  next  boy  who  sees  his  name  on  the  board,  may 
say  his  part,"  continues  the  teacher,  writing  as  she  speaks. 

"And  I  gave  Charley  six  more,"  reads  that  little  boy 
without  hesitation. 

The  teacher  writes  again;  " Susie,  you  may  ask  that." 

"How  many  did  I  give  away?"  inquires  the  smaU  maiden. 

"When  you  have  thought,  you  may  come  and  whisper 
the  answer  to  me,"  specifies  the  teacher. 

One  by  one,  the  children  go  to  the  teacher,  and  whisper ; 
she  responds  "Eight,"  to  each  in  turn.  "Class  teh1  me 
why?"  is  the  mandate,  when  all  have  done  this. 

"Because  six  and  six  are  twelve!"  is  the  energetic  chorus. 


444      THE  ' '  (?  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

* '  Every  one  write  it. " 

They  spring  to  the  board,  and  put  the  sentence  down  as 
quickly  as  they  can  well  do  so.  While  they  are  at  work, 
the  teacher  is  writing;—  What  part  did  J  give  away*  and 
seeing  this,  the  children  read  silently,  solve  the  problem, 
and  whisper  the  result  obtained  in  her  ear  as  fast  as  she 
can  attend  to  them,  all  excepting  one  little  boy,  who  goes 
first  to  the  blocks,  sees  the  solution,  and  then  is  ready  to 
give  it. 

How  many  had  I  left,  writes  the  teacher.  "Put  your 
answers  on  your  slates,"  is  her  direction. 

This  is  done  while  the  teacher  writes  the  last  of  her 
questions ;—  What  part  had  I  left  f 

"Edith  may  read  us  that." 

The  child  does  so.  Then  the  pupils  go  again  to  whisper 
their  results. 

"Wrong,"  is  the  first  decision,  which  sends  a  downcast 
little  woman  to  the  block-table,  to  work  the  problem  out, 
"Wrong,"  is  the  next  whisperer,  and  "Wrong,"  the  one 
after. 

"Right,"  declares  the  teacher  to  the  pupil  who  comes 
next ;  but  the  one  after  is  wrong,  and  then  comes  another 
who  is  right. 

The  group  at  the  block-table  is  increasing,  and  the  young 
faces  are  rather  long,  by  this  time. 

"Think!  think!"  says  the  teacher;  "you  can  think  it 
out,  if  you  try." 

But  the  young  mathematicians  come  no  more  with  their 
answers;  they  are  confused,  and  she  must  help  them  a 
little. 

"What  part  did  I  give  away,  children?" 

"  One  half  1"  is  the  quick  chorus. 

"What  must  I  have  separated  the  twenty-four  marbles 
into,  then?" 

"  Halves,"  is  the  instant  response. 


NUMBER.— ONE  MORE  LESSON    WITH  FIGURES.      445 

"  How  many  halves  had  I  at  first?" 

"Two,"  declare  the  children  all  together. 

" Now  who  can  tell  me  what  part  I  had  left?"  Every 
hand  is  fluttering,  for  every  child  sees  the  point.  4  *  All 
together. " 

"  One  half!"  is  the  eager  concert. 

"What  else  could  we  call  this  part  besides  one  half? 
Maggie." 

4 'Two  fourths." 

"  Yes;  any  other  name  for  it?    Nellie." 

"Four  eighths." 

"That  is  so.  Can  you  think  of  still  another  one, 
Frank?" 

"Six  twelfths." 

"Right!  Patrick,  you  haven't  had  a  question  lately ;  tell 
me  which  you  would  rather  have,  one  half  of  an  apple,  or 
three  sixths  of  an  orange?" 

"Three  sixths  of  an  orange." 

"Why?" 

"Because  I  like  oranges  hest,"  is  the  demure  reply,  de- 
livered with  perfect  seriousness,  and  seeming  innocence. 

"That  will  do,"  hurriedly  decides  the  teacher,  smiling 
rather  more  than  usual  upon  the  baffled  group,  whose 
hands  were  all  up  to  correct  Patrick,  but  who  are  now 
somewhat  taken  aback  by  his  unexpected  answer. 

"Let  us  look  for  the  best  slate,"  proposes  the  teacher, 
and  they  all  turn  to  the  blackboard,  beginning  at  once  with 
the  gravity  and  deliberation  of  judges,  to  inspect  the 
work. 

"Teacher,  I  think  John's  is  the  nicest,"  selects  Susie, 
after  a  prolonged  survey  of  each  slate. 

"So  do  I,"  coincides  Timmie. 

"John,  read,  and  we  will  see  if  the  work  is  all  right; 
sometimes  it  isn't,  and  we  have  to  be  very  particular  in 
looking  it  over,"  cautions  the  teacher. 


44-6      THE   "QUINCY  METHODS"  ILLUSTRATED. 
John  reads  his  examples,  which  are  arranged  thus: 

5  5's  =  25 

7)  24  (3* 

•     of  24  =  1 


6  +  6  =  12 
24  -  12  =  12 

(The  line  is  drawn  to  separate  the  problems  given  to  him, 
from  those  given  to  the  whole  class.) 

"That  is  a  carefully  written  slate,"  grants  the  teacher. 
"The  figures  are  well  made,  and  everything  is  neat;  we 
will  call  that  'Number  One.'  Which  is  the  next  best, 
children?" 

Mary  points  to  her  neighbor's  slate  on  the  left,  while 
Charley  reports  that—"  Edith's  slate  looks  pretty  nice." 

"Is  that  any  better  than  this  one?"  inquires  the  teacher 
of  the  little  critics. 

"  I  like  the  finish  of  the  figures  here,"  gravely  enunciates 
John,  with  the  air  of  a  connoisseur.  The  fact  of  his  hav- 
ing had  the  best  slate,  seems  to  have  given  him  a  prestige, 
tacitly  acknowledged  by  the  class,  who  concur  with  his 
opinion  that  Edith's  shall  be,  "Number  Two." 

In  this  way  each  slate  is  examined  in  turn,  and  numbered 
according  to  the  excellence  of  the  work.  The  one  con- 
taining a  mistake  comes  last,  and  its  mortified  little  owner 
has  no  word  to  say  for  herself,  though  it  is  quite  evident 
that  the  error  is  the  result  of  carelessness  rather  than  igno- 
rance. 

When  the  inspection  is  concluded,  the  teacher  says, 
"Stand  up  straight,  and  tall,  children,  and  think  fast. 
How  many  fives  make  twenty-five?" 

The  hands  are  up,  almost  before  she  has  uttered  the  last 
word. 

"Maggie." 


NUMBER.— ONE  MORE  LESSON    WITH  FIGURES.    447 

"Five." 

"  One  fifth  of  twenty-five,  Charley?" 

"Five." 

"Four  fours  are  how  many,  Julia?" 

"Sixteen." 

"  Two  tens  are  how  many,  Mike?" 

"Twenty." 

' '  Threes  in  twenty -four  ?    Nellie. " 

"Eight." 

"Eights  in  twenty -four,  Edith?" 

"Three." 

4 '  Sixes  in  twenty-four  ?    John. ' ' 

"Four." 

"  Twelves  in  twenty-four?    Eddie." 

"Two." 

"  How  many  fours  make  twenty-four,  Mary?" 

"Six." 

"How  many  must  we  take  from  twenty-four  to  leave 
twelve,  Susie?" 

"Twelve." 

"  Twelve  is  what  part  of  twenty-four?    Timmie." 

The  boy  hesitates  a  second,  and  glances  toward  the 
blocks;  then  as  if  he  had  moved  them  mentally,  he  an- 
swers, "One  half." 

"How  many  eights  make  twenty -four?    Henry." 

"Three." 

"  Sixes  in  twenty-five,  Frank?" 

"Four  sixes,  and  one  over." 

"What  is  the  difference  between  three  sixths,  and  one 
half,  Patrick?"  interrogates  the  teacher,  suddenly  turning 
upon  him,  with  a  glimmer  of  mischief  in  her  face. 

"Just  the  figures,"  retorts  the  young  namesake  of  the 
Saint,  grinning  broadly  at  his  own  wit. 

"How  is  that?" 


448      THE  "  QUINCY  METHODS"   ILLUSTRATED. 

"Why,  don't  you  see?"  writing  the  fractions  upon  the 
board.  "They  aren't  the  same;  are  they?" 

"The  class  is  dismissed,"  announces  the  teacher,  quite 
convinced  that  one  member,  at  least,  understands  fractions 
—as  far  as  he  has  gone ! 


Notes  and  Comments. 

Training  pupils  to  guess,  is  one  of  the  most  vicious  of  the 
bad  intellectual  results  of  poor  teaching ;  for  -when  children 
have  become  habitual  guessers,  they  need  to  be  mentally 
born  again.  The  certainty  of  knowledge  shown  by  this 
class,  is  quite  worthy  of  being  noted ;  while  the  skill  dis- 
played by  this  teacher  in  discerning  the  critical  juncture  at 
which  guessing  would  inevitably  have  set  in,  had  she  not 
come  to  the  rescue,  and  in  knowing  just  how  much  assist- 
ance to  give,  and  just  when  to  withdraw  that  assistance,  is 
sufficiently  rare  to  be  commented  upon. 


OHAPTEE  VIII. 

PENMANSHIP.— A  LESSON  IN  TRACING. 

THE  lesson  here  photographed,  was  given  in  the  only 
school  in  Quincy,  where  pen  and  ink  were  used  by  second- 
year  pupils. 

The  credit  of  this  new  departure,  is  due  to  Geo.  H.  Shat- 
tuck,  one  of  the  "  Spencerian  authors,"  who  took  charge  of 
the  introductory  exercise,  and  then  left  the  work  in  the 
hands  of  the  regular  teacher,  by  whom  the  following  les- 
son was  conducted. 

The  originality  of  Mr.  Shattuck's  plan,  consists  in  the  new 
use  of  an  old  device, — tracing.  Instead  of  trying  to  teach 
form,  by  means  of  tracing,  as  is  usually  done,  he  employs 
tracing  merely  as  an  aid  in  training  little  children  in  posi- 
tion, pen-holding,  the  careful  use  of  pen  and  ink,  and  in 
movement. 

Having  the  perfectly  formed  letter  ready-made  to  his 
hand,  the  small  beginner  in  the  great  art  of  penmanship,  is 
freed  from  trouble  in  that  direction,  and  can  concentrate 
all  his  energies  upon  the  performance  of  that  difficult  feat, 
which  many  larger  people  have  never  mastered,  viz.  the 
proper  position  and  movement  of  his  new  tool,— the  pen. 

The  last  step  in  Technical  Writing  has  been  taken  when 
the  pupils  have  been  taught  how  to  use  pen  and  ink.  There 
is,  consequently,  no  necessity  for  any  further  illustration 
of  the  manner  of  teaching,  and  no  more  lessons  will  be 
delineated  in  this  branch  in  which  the  pupils  have  con- 


450      THE    "QUhVCY  METHODS"   ILLUSTRATED. 

stant  practice  during  the  eight  years  of  their  school  life,  and 
steady  training  during  the  first  four. 

PURPOSE   OF  THE  LESSON.— To   drill  the  children  in  the 
technic  of  penmanship. 

PREPARATION  MADE  BY  THE  TEACHER.—  Learning  the  signals, 
and  what  they  are  for. 

PREPARATION  MADE   BY    THE  PUPIL S.  —The    self-control   to 
which  they  have  attained. 

PLAN  OF  THE  LESSON.— Call  the  monitors. 

Supply    monitors    with    pen -holders,   pen -wipers,    and 
books. 

Monitors  distribute  the  same. 

Class  turn  to  side.  (1) 

Class  place  their  books.  (2) 

Class   arrange   arms  in  position,   and  find,   with  right 
hands,  the  places  in  their  books.  (3  &  4) 

Class  open  their  books.  (5) 

Review  the  lines,  and  write  two  u's  on  the  board. 

Class  open  the  ink  wells.  (6  &  7) 

Class  pick  up  their  pens,  place  them  in  position,  and 
notice  points.  (8  &  9) 

Class  take  ink.  (10) 

Class  write. 

Class  wipe  pens,  and  lay  them  down.  (11  &  12) 

Class  close  ink  wells.  (13  &  14) 

Class  examine  their  books. 

Class  close  books.  (15) 

Class  face  front.  (16) 

Monitors  collect  the  books,  pen -holders,  and  pen- 
wipers. 

THE  LESSON. 

It  is  nearly  time  for  school  to  commence.  The  airy,  sun- 
shiny room  is  almost  as  still  as  if  work  had  set  in.  Indeed, 
it  has  begun,  for  standing  at  nearly  every  division  of  the 


PENMANSHIP.— A    LESSON  IN   TRACING.         45  I 

low  blackboard  devoted  to  drawing,  are  little  children 
sketching,  as  busy  and  intent  upon  their  pictures  as  any 
grown-up  artists. 

The  teacher  moving  softly  to  and  fro  between  her  table 
and  the  book-case,  absorbed  in  her  preparation  for  the  com- 
ing half -day's  work,  pays  no  attention  to  what  is  going  on, 
until  the  quick  patter  of  bare  feet  in  the  entry,  causes  her  to 
look  up  at  the  child  who  is  coming  in. 

Very  red  in  the  face,  very  brown  as  to  hands  and  feet, 
with  old  turned-up  trousers,  and  old  turned -down,  straw 
hat,  crushing  the  blonde  curls  that  stray  from  under  it,  this 
living  image  of  Whittier's  "Barefoot  Boy"  steps  directly 
across  the  room  to  a  vacant  space  at  the  board,  whereon 
is  an  elaborate  sketch  of  a  sailing  vessel, — the  "Edith." 
Though  somewhat  original  as  to  construction,  and  slightly 
peculiar  as  to  perspective,  the  drawing  shows  some  talent, 
likewise  the  toil  of  many  days.  Great  then  is  the  teacher's 
surprise,  to  see  the  little  fellow  snatch  an  eraser,  and  begin 
to  destroy  what  it  has  taken  him  so  long  to  create. 

"Frank!  Frank!  why  do  you  rub  out  your  work?"  she 
hastily  inquires. 

Pausing  an  instant,  he  explains.  "Why,  you  see,  George 
said  there  couldn't  anybody  get  into  the  'Edith,'  and  I 
thought  it  didn't  look,  just  right,  so  I've  been  down  to 
the  shore  to  see  some  schooners,  and  I've  found  out  what 
the  trouble  is,"  and  he  goes  on  erasing. 

"There  is  something  else  that  you  haven't  found  out," 
gently  intimates  the  teacher,  with  a  significant  gesture,  that 
causes  the  child  to  put  his  hand  to  his  head,  and  thus  dis- 
cover his  hat. 

"Oh!  I-I-forgot,"  he  stammers,  expeditiously  pulling  off 
the  article  referred  to,  and  disclosing  to  view  numberless 
rings  of  damp  hair,  edging  the  snowy  forehead  into  which 
the  color  rises  as  he  passes  out  to  hang  up  his  hat  where  it 
belongs. 


45 2      THE    "  QUINCY  METHODS"   ILLUSTRATED. 

At  this  moment  the  bell  rings,  and  the  remainder  of  the 
class,  immediately  forming  in  line  outside  the  schoolhouse, 
file  in,  silently  take  their  seats  and  fold  their  hands,  those 
at  the  blackboards  doing  the  same. 

Standing  in  front,  the  smiling  teacher  looks  down  into  the 
happy  faces  before  her,  and  begins  to  sing, — 

"  Buttercups  every  one 
Bright  like  the  morning  sun, 
Looking  and  smiling  so  gay  ;" 

and  the  little  ones  all  join  in,  some  of  the  boys  whistling  the 
air,  instead  of  singing.  The  effect  is  unique,  certainly,  and 
whatever  may  be  thought  of  it  as  a  musical  performance,  it 
is  undeniably  a  success  so  far  as  the  children  are  concerned, 
as  one  glance  at  the  earnest  pleased  faces  of  the  singers,  and 
the  vigorous  puckerings  of  the  whistlers,  proves. 

When  all  the  stanzas  have  been  rendered,  a  hand  is 
raised,  and  the  owner  petitions, — "Please  let  us  sing  the 
'Dandelion  Song'?" 

Consent  being  given  the  girls  carol  the  words— 

"  Dandy  Dandelion,  was  a  splendid  fellow, 
With  a  coat  of  green,  and  a  crest  of  yellow. 
He  had  lots  of  gold  ;  he  was  very  lazy, 
80  he  chose  to  scold  modest  little  Daisy  ;" 

and  the  boys  pipe  up  their  whistling  accompaniment  with 
such  hearty  good-will  that  they  nearly  drown  the  singers, 
voices. 

This  being  ended,  the  teacher  intimates,  "Now  we  are 
going  to  write;  and  first  of  all,  I  want  to  see  you—" 

"Sitting  up  straight  I"  chorus  the  children,  finishing  her 
sentence  and  verifying  the  words. 

Lifting  her  bell  so  that  all  the  erect,  attentive  pupils  can 
see  it,  the  teacher  taps  lightly,  and  eight  of  their  number 
acting  as  monitors,  range  themselves  directly  in  front  of  the 
platform. 


PENMANSHIP.— A    LESSON  IN  TRACING.        453 

"  I  see  that  Asa  is  absent,"  observes  the  teacher,  after  one 
glance  at  the  line.  "What  is  it,  Charley?" 

"  He  stayed  at  home,  because  he  spilled  the  ink  last  time." 

"I  am  sorry  that  the  accident  happened,  but  he  need  not 

stay  out  of  school  for  that.     He  could  not  help  spilling  the 

ink  when  he  fell  down.    Carrie,  will  you  do  his  work  to-day?" 

"  Yes'm,"  and  in  a  second,  the  active  little  maid  has  joined 

the  small  officials,  who  might  be  taken  as  models  of  good 

deportment,  so  very  erect  is  their  carriage,  and  so  dignified 

their  bearing. 

Turning  to  her  table  the  teacher  now  takes  from  a  drawer 
three  box-covers  upon  which  are  laid  in  perfect  order,  a  cer- 
tain number  of  pen-holders,  with  the  ends  of  the  pens  pro- 
jecting over  the  edges  of  the  lids;  three  other  box-covers 
containing  pen -wipers  symmetrically  arranged,  and  three 
piles  of  writing-books.  To  every  third  monitor  she  hands  a 
cover  containing  pen -holders,  to  three  others,  the  lids  with 
the  pen- wipers,  and  to  the  remaining  monitors,  she  distrib- 
utes the  writing-books,  then  touches  her  bell. 

The  nine  little  people  whirl  like  so  many  automatons,  and 
place  themselves  facing  down  the  room,  those  holding  the 
books  and  pen-holders,  opposite  the  heads  of  the  first,  third, 
and  fifth  aisles ;  those  carrying  the  pen- wipers,  opposite  the 
heads  of  the  second,  fourth,  and  sixth  aisles,  where  they 
wait  for  the  signals. 
"  One !"  calls  out  the  teacher. 

Instantly  each  of  the  monitors  with  the  books,  lays  one 
softly — face  up—in  the  middle  of  the  first  desk  at  the 
right,  while  the  monitors  just  behind  them,  with  the  pen- 
holders, place  one  in  the  groove  at  the  back  of  the  desk, 
with  the  point  out.  At  the  same  time,  the  monitors 
with  the  pen-wipers  in  the  alternate  aisles,  drop  a  pen- 
wiper, upon  the  right-hand  corner  of  the  first  desk  at  their 
right. 
"Two!" 


454      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

Every  monitor  takes  a  long  step  forward,  bringing  him 
opposite  the  second  desk. 

^"One!" 

A  hook,  pen-holder,  or  pen-wiper,  is  placed  softly  upon 
the  second  set  of  desks. 

"Two!" 

Again  the  nine  monitors  move  forward  ;  thus  they  pro- 
ceed, until  they  come  to  the  end  of  the  aisles,  where  all 
turn,  those  carrying  the  books  and  pen-holders  passing  to 
the  right,  and  up  the  3d,  5th,  and  7th  aisles  (if  double 
desks  are  used  the  three  monitors  go  up  the  1st,  2d,  and  3d 
aisles,  and  down  the  2d,  3d,  and  4th  aisles),  the  others  turn 
around  in  their  places,  distributing  up  the  aisles  this  time, 
and  standing  finally  in  a  straight  line  in  front  of  the  plat- 
form, when  all  the  desks  have  been  supplied. 

Relieving  the  children  of  their  box-covers,  the  teacher 
makes  a  sign  of  dismissal,  and  they  slip  softly  into  their 
seats,  and  fold  their  hands  like  the  others. 

"One!" 

The  pupils  wheel  in  their  seats,  as  one  body. 

"Two!" 

Every  book  is  placed  in  just  the  right  spot,  and  exactly 
at  the  requisite  angle. 

"Three!" 

All  of  the  arms  are  arranged  in  proper  position. 

"Four!" 

The  right  hands  find  the  places  in  the  books,  the  heads 
are  up,  and  the  eyes  upon  the  teacher,  waiting  for  the 
next  signal. 

"Five!" 

Every  book  opens  on  the  instant,  without  even  so  much 
as  the  flutter  of  a  leaf,  and  the  teacher,— standing  at  the 
board— has  the  entire  attention  of  her  young  audience,  when 
she  puts  her  first  question. 

"How  many  u's  on  each  line?" 

"Two!"  is  the  unanimous  assertion,  after  a  downward 
look  at  the  open  books. 


PENMANSHIP— A    LESSON  IN  TRACING.         455 

"  What  kind  of  lines  are  these?"  drawing  two  carefully, 
upon  the  board. 

"  Horizontal" 

"  What  color  are  they  in  your  books?" 

"Blue." 

"  Find  two  lines  running  this  way,"  drawing  two  up  and 
down,  upon  the  board. 

The  tiny  fingers  are  all  pointing  at,  without  touching  (for 
fear  of  soiling)  the  lines  referred  to. 

"  What  do  we  call  those?" 

"Vertical  lines." 

"What  is  the  name  of  this?"  motioning  toward  the  lower 
one. 

"The  base  line." 

"  And  this?"  indicating  the  upper. 

"The bead  line." 

"  On  which  line  do  we  begin?" 

"On  the  base  line." 

"Wait  a  moment  till  I  am  ready,"  stays  the  teacher  her 
hasty  pupils,  who  have  their  mouths  made  up  to  give  her 
the  word  to  begin. 

Selecting  a  long  crayon,  and  placing  the  point  at  her  base 
line,  she  utters— "  Now !"  and  they  start  off  together,  the 
teacher  writing,  and  the  children  counting—"  One,— two, — 
three,— four,  one,"  for  the  five  slanting  lines  of  the  letter  u. 

"  What  shall  I  do  with  these  vertical  lines?" 

"  Don't  do  anything  1"  calls  out  a  quick-witted  youngster, 
before  anybody  else  has  time  to  speak. 

"You  mustn't  touch  them!"  "Don't  touch  them!"  are 
other  directions  given. 

"What  number  did  I  call  last?" 

"Five!"  is  the  assurance  in  concert. 

" Six!"  signals  the  teacher. 

Every  right  arm  reaches  toward  the  ink  well,  every  right 
hand  rests  upon  the  cover. 


4  5  6     THE   ' '  Q  UINC  Y  ME  THOD  S"   ILL  US  TRA  TED. 

"Seven!" 

The  covers  are  lifted. 

"  Eight!" 

Each  pupil  picks  up  his  pen,  and  settles  to  position,  as  the 
teacher  cautions, — 

"  Be  sure  that  the  elbow  is  resting  upon  the  desk,  and  that 
the  arm  is  in — what  kind  of  a  line?" 

"  Horizontal  1"  aver  the  little  ones  unanimously. 

"Ninel" 

There  is  not  a  child  in  the  room,  who  is  not  at  this  instant, 
wrestling  with  his  rebellious  or  awkward  fingers. 

"  How  should  we  hold  our  pens?"  reviews  the  teacher. 

"With  two  fingers." 

"What  do  we  call  those  two  that  are  bent  under?" 

"Little  feet." 

"  And  what  have  they  on?" 

"Skates." 

"Then  let  me  see  every  hand  gliding  on  Its  two  skates 
all  the  time  that  we  are  writing.  What  is  it  that  we  must 
not  touch?" 

"The  pen." 

"  Yes,  only  the  holder.    Ten !" 

The  pens  are  poised  over  the  ink  wells,  and  then  dipped 
daintily  into  the  ink. 

"  Let  us  all  remember  that  we  want  but  a — " 

"  Little  ink!"  interpolate  the  class. 

"Because  we  are  going  to  make, — " 

"  Light  lines!"  conclude  the  chorus. 

"Ready!" 

Every  pen  is  placed  in  the  proper  spot,  every  eye  is  fixed 
upon  that  spot,  and  every  ear  listening  for  the  count. 

It  comes,— "One!"  the  pens  travel  lightly  upward  over 
the  traced  lines  on  the  pages;  "Two!"  they  slide  down; 
"Three I"  they  move  carefully  up  again,  following  con- 
stantly the  faintly  outlined  forms;  "Four!"  down;  "One!" 


PENMANSHIP —A   LESSON  IN   TRACING.        457 

up;  and  the  little  writers  draw  a  long  breath  of  relief  as 
they  lift  their  eyes  from  the  pages  before  them. 

A  second's  rest,  and  the  command  is  heard,  "Ready! 
One, — two,— three,— four,— one.  Another u.  Ready!  One, 
—two, — three, — four, — one.  Now  wipe  your  pens,  and  lay 
them  down,  while  we  look  at  the  letters  we  have  made.  I 
think  you  did  quite  well.  Nearly  every  one  sat  up  straight 
and  almost  all  held  their  pens  correctly.  If  you  do  any  bet- 
ter next  time,  I  shall  have  to  invite  Mrs.  0.*  in  to  look  at 
you.  All  in  position;  pick  up  your  pens,— take  just  a 
little  ink,  — place  the  pens.  One,  —two,  —three,  —four, — one. 
Next ;  one, — two, — three,  —four,  —one. " 

The  children  are  on  their  mettle  now ;  the  little  figures 
are  rigidly  erect,  the  arms  are  in  perfect  position,  the  pen- 
holders point  in  the  proper  direction,  and  the  small  hands 
are  all  sliding — in  good  style, — over  the  paper,  on  the  skates 
before  mentioned. 

Watching  her  class  as  they  work,  the  teacher  feels  that 
her  pupils  are  doing  their  very  best,  that  she  has  aroused 
them  to  the  height  of  effort,  if  it  be  not  the  height  of  per- 
formance, and  it  does  not  fall  far  short  of  even  that. 

Accordingly,  still  counting  for  them  to  write,  she  moves 
toward  the  door  leading  into  the  next  room,  and  taking 
advantage  of  a  pause  between  two  lines,  she  opens  the 
door,  and  beckons  the  teacher  to  come  in. 

If  it  be  possible,  the  backs  are  stiffer,  the  heads  are  held  a 
trifle  higher,  the  "  little  feet"  are  rather  more  obvious,  and 
the  pen-holders  pointing  in  the  proper  direction,  seem  a 
shade  more  exact,  as  the  invited  guest  steps  over  the  thresh- 
old. 

As  for  her,  coming  thus  unprepared  upon  the  scene,  she 
finds  it  exceedingly  difficult  to  preserve  the  proprieties  of 
the  occasion. 

"Will  you  please  stand  here  and  watch  my  class  while 

*  The  teacher  in  the  adjoining  room. 


45 8      THE   "QUINCY  METHODS"  ILLUSTRATED. 

they  write  a  line?  I  thought  I'd  like  to  have  you  see  them," 
remarks  their  teacher.  "Keady!  One, — two,— three,— 
four,— one.  Again!  One,— two, — three,— four, — one." 

The  long  rows  of  rigid  little  figures,  each  sitting  in  pre- 
cisely the  same  position,  the  small  constrained  hands  all 
carrying  the  pens  in  such  preternaturally  good  form,  the 
demure  little  faces  with  downcast  eyes,  and  an  expression 
of  affected  unconsciousness  of  what  remarkably  nice  chil- 
dren they  are,  visible  all  over  them,  form  a  tableau  that  ap- 
peals irresistibly  to  such  a  lover  of  children.  For  the  space 
of  ten  seconds  she  wavers  between  the  desire  to  laugh  at 
the  cunning  looks  of  these  innocent  young  hypocrites,  and 
her  longing  to  catch  them  up  and  hug  them  one  by  one,  but 
as  a  matter  of  fact  she  does  neither ;  only  remarks  in  the 
most  commonplace  fashion,  "  I  can  see  a  great  improvement 
since  the  last  time  I  came  in.  I  think  if  I  were  to  draw  a 
line  down  each  aisle,  it  would  touch  every  head  in  the  row ; 
their  positions  are  very  fine." 

"I  knew  you  would  be  pleased,"  assures  the  teacher  of 
the  class,  as  the  visitor,  not  caring  to  trust  herself  further, 
retires  with  a  very  smiling  countenance. 

"  What  line  next?"  asks  the  teacher  as  the  door  shuts. 

"The  sixth!" 

"  Only  a  little  ink.  Ready !  One,— two,— three,— four,— 
one.  Again.  One, — two, — three, — four,— one.  John,  you 
have  gained  since  I  spoke  to  you,"  is  her  encouraging  asser- 
tion, addressed  to  an  energetic  youngster,  who  has  been 
trying  so  hard  that  his  tongue  must  ache,  it  having  been 
thrust  from  side  to  side  of  his  mouth  with  every  stroke  of 
his  pen.  The  boy's  face  now  fairly  shines  with  delight, 
while  he  takes  a  still  firmer  grip  of  his  holder,  and  pre- 
pares to  conquer  another  u,  with  tongue  and  pen. 

"  Ready  now,  for  the  seventh  line.  One,— two,— three,— 
four, — one.  I  can  see  that  the  class  are  watching  their  left 
hands,  to  keep  them  just  where  they  belong." 


PENMANSHIP.— A   LESSON  IN  TRACING.         459 

At  this  every  pupil  in  the  room  re-places  the  hand 're- 
ferred to,  in  order  to  be  sure  that  it  is  just  right. 

"  Where  are  we  now?" 

"  At  the  eighth  line." 

"  We  must  remember  positions,  all  of  us,  it  is  so  easy  to 
forget,  and  lean  over.1' 

This  reminder  brings  every  drooping  child  to  a  bolt-up- 
right, immediately. 

' '  Ready !  One,  —two,  —three,  —four,  —one.  One,  —two,  — 
three, — four, — one.  Wipe  your  pens  always,  when  you 
rest.  You  may  rest  now,  and  wait  for  Clara,  who  is  a  little 
behindhand,  because  she  did  not  take  ink  enough.  I  am 
pleased  to  see  Mina  doing  so  much  better.  She  used  to  hold 
her  pen  badly,  but  she  is  getting  to  be  one  of  the  good 
writers. " 

Another  pupil,  not  greatly  interested  before,  will  work 
with  all  her  small  might  now. 

"  What  line  next,  children?" 

1 '  The  ninth. "     "  The  last. " 

"Yes,"  agrees  the  teacher,  "  and  we  want  to  make  that 
the"— 

"  Best,"  adds  the  chorus. 

"Very  well;  take  up  your  pens,  and  dip  just  the  points 
in  the  ink,  so  that  this  will  be  a  very  light  line.  Ready ! 
One,— two,— three, — four, — one.  Now  the  last  arid  finest  of 
all.  One, — two, — three, — four, — one.  Eleven!" 

Each  writer  picks  up  his  pen-wiper  and  proceeds  to  clean 
his  pen  thoroughly. 

"Twelve!" 

The  pen-holders  are  placed  in  the  grooves  of  the  desks, 
all  the  points  turned  one  way. 

"Thirteen!" 

The  hands  are  on  the  covers  of  the  ink  wells. 

"Fourteen!" 

The  covers  are  softly  closed. 


460      THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

"Let  us  look  at  our  books  now.  How  many  find  one 
short  oblique  line  at  the  top  over  the  last  lesson?"  Six  or 
eight  hands  go  up  reluctantly.  "What  does  it  mean, 
Harry?"  calling  upon  one  of  this  number. 

"  That  the  lines  were  too  heavy." 

"Yes.  Now  see  how  many  have  two  short  horizontal 
lines  at  the  bottom  of  your  page." 

There  is  quite  a  showing  of  hands  this  time. 

"  What  do  they  mean,  Helen?" 

"That  we  have  improved." 

'  *  I  hope  I  can  put  these  in  every  book,  when  I  come  to 
look  at  what  you  have  written  to-day.  Don't  you?" 

"  Yes'm !"  in  emphatic  agreement. 

* '  Well,  we  shall  see.    Fifteen  1" 

The  books  are  closed. 

"Sixteen." 

All  the  pupils  wheel  in  their  seats,  and  face  the  front 
again.  The  teacher,  taking  her  stand  beside  the  table, 
strikes  her  bell ;  the  monitors  rise,  and  passing  in  the  same 
order  as  when  distributing,  gather  up  the  books,  pen-holders, 
and  pen-wipers,  while  the  class  wait  in  orderly  silence,  until 
everything  has  been  collected  and  put  away.  Work  for  the 
next  period  is  now  assigned  to  the  different  groups,  and  the 
busy  hum  of  industry  sets  in  once  more. 


Notes  and  Comments. 

There  is  a  time  and  a  place  for  all  things,— hence,  for 
mechanical  drill.  For  whatever  is  to  be  done  mechanically, 
should  be  learned  mechanically ;  and  writing  should  certain- 
ly be  mechanical.  The  lesson  just  photographed  shows  that 
even  an  automatic  exercise  can  be  made  delightful  to  chil- 
dren, because  it  can  be  filled  with  life.  To  accomplish  this, 
three  things  are  essential.  First,  a  standard  of  precision ; 


JAB 


.',,,-; .:.:  Vr~-  ; 


ife: 

fiti 


PENMANSHIP.— A   LESSON  IN  TRACING.         461 

second,  a  logical  arrangement  of  details ;  and  third,  a  skilful 
teacher. 

Two  specimens  of  penmanship  of  this  grade, — though  not 
done  in  Quincy, — are  presented,  because  they  were  done 
under  the  training  of  a  Quincy  teacher. 

EXPLANATORY. 

A  few  of  the  blackboard  pictures,  referred  to  in  the  be- 
ginning of  this  description,  are  here  reproduced,  having 
been  copied  upon  paper  by  the  small  artists,  for  that  pur- 
pose. It  should  be  distinctly  understood,  that  this  work  is 
entirely  their  own.  They  are  given  no  aid,  and  ask  for 
none.  The  subjects  or  scenes,  whether  real  or  imaginary, 
are  of  their  own  selection,  and  are  delineated  according  to 
their  own  ideas.  Occasionally  a  child  will  work  every  day 
before  school  (the  pupils  are  not  allowed  to  draw  during  the 
recess),  two  or  three  weeks  upon  one.picture,  demonstrating 
not  seldom  a  study  of  the  object,  that  is  both  persistent  and 
intelligent. 


CHAPTER  IX. 

A  LESSON  IN  SPELLING. 

PURPOSE  OF  THE  LESSON.— To  teach  the  children  to  spell, 
i.e.  write  the  sentences  given. 

PREPARATION  MADE  BY  THE  TEACHER.  —  Indirect.  Several 
years  of  practice  in  blackboard  writing. 

Direct.    The  writing  of  the  lesson  of  the  day. 

PREPARATION  MADE  BY  THE  PUPILS.—  The  power  to  attend, 
which  they  have  gained  through  training. 

PLAN  OF  THE  LESSON.  —  (1)  Write  (from  Col.  Parker's 
"  Tract  on  Spelling")  three  sentences  on  the  hoard,— before 
school. 

(2)  Have  them  read  aloud,  and  then  copied  by  all  the 
groups,  for  Busy- Work  in  the  morning. 

(3)  Erase  the  writing  at  noon. 

(4)  Say  the  first  sentence  to  the  children ;  have  them  re- 
peat, and  then  write  it. 

(5)  Give  the  other  two  sentences  in  the  same  manner. 

(6)  Have  the  pupils  exchange  slates. 

(7)  Write  the  sentences  upon  the  board  slowly,  while  the 
children  examine  the  slates. 

(8)  Have  the  slates  returned  to  their  owners,  and  the 
errors  corrected. 

THE  LESSON. 

As  the  first  group  return  to  their  seats  from  their  number 
lesson,  the  teacher— in  low  pleasant  tones,  but  with  a  man- 
ner that  suggests  dispatch— says  to  the  group,  "Take 


A   LESSON  IN  SPELLING.  463 

your  slates.  Egbert,  read  the  first  sentence  on  the  black- 
board." 

Turning,  the  children  behold  a  lined-off  space,  upon 
which  is  written  in  chirography  that  resembles  letter-press, 
three  sentences.* 

"There  are  a  great  many  beautiful  trees  in  the  woods," 
reads  the  child,  in  a  perfectly  natural  manner. 

"I  am  looking  for  a  little  girl  who  wishes  to  tell  us  the 
next,"  intimates  the  teacher  as  she  scans  the  line  of  fresh 
young  faces  in  front  of  her.  "  Eosa." 

"Where  are  you  going,  little  boy?"  queries  the  small 
reader,  as  if  she  wished  to  know. 

"One  more  sentence,"  specifies  the  teacher.  "Eugene 
shall  have  it,  because  he  is  sitting  in  such  a  fine  position." 

The  flattered  little  fellow  stands,  a  model  of  soldier-like 
dignity,  as  he  reads,  "Here  are  some  very  pretty  flowers." 

' '  Copy  these  sentences,  until  you  fill  your  slates  with  very 
nice  writing,"  is  the  order,  given,  as  the  teacher  walks  off 
down  the  room  to  meet  the  second  class  in  Number. 

In  the  course  of  the  forenoon,  every  pupil  has  written 
these  sentences  for  Busy- Work,  and  thus  has  studied  his 
spelling  lesson. 

When  the  children  return  to  school  after  the  noon  recess, 
the  beautiful  handwriting  has  vanished,  the  blackboard  is 
clean  and  bare. 

Toward  the  middle  of  the  afternoon,  when  the  reading 
lessons  are  over,  and  the  Busy- Work — clay  modelling — has 
been  inspected,  duly  praised  and  carefully  laid  away  in  the 
closet  to  dry,  the  command  comes,  "Get  your  slates  and 
pencils  ready  for  spelling." 

While  they  are  doing  this,  the  teacher — who  happens  to 
be  in  the  rear  of  the  room,  breaks  out  into  song,  and  the 
children  without  a  backward  glance,  chime  in : — 

*  This  was  done  by  the  teacher  before  school. 


464      THE  "QUINCY  METHODS"   ILLUSTRATED. 

"  Under  the  haystack  Little  Boy  Blue 
Sleeps  with  his  head  on  his  arm;" 

By  the  time  the  song  is  ended  and  the  slates  are  cleaned,  the 
teacher  is  standing  at  her  place  in  front,  and  leads  off  with 
the  following,  which  is  accompanied  by  appropriate  move- 
ments. 

"  This  is  east,  and  this  way  west, 
Soon  I'll  learn  to  say  the  rest ; 
This  is  high,  and  this  is  low, 
Only  see  how  much  I  know. 

If  a  lady  in  the  street, 
Or  my  teacher  I  should  meet; 
From  my  head  my  hat  I'll  take, 
And  a  bow  like  this  I'll  make." 

"  Sit  up  tall,  and  look  me  in  the  eye,"  is  the  terse  man- 
date spoken  in  a  low  sweet  voice  as  the  last  notes  die  upon 
the  air.  "Here  is  your  first  sentence,"  repeating  clearly 
and  with  good  expression,  "There  are  a  great  many  beauti- 
ful trees  in  the  woods." 

The  class  say  it  over  after  her,  imitating  exactly,  her 
tone  and  manner. 

"Write!"  dictates  the  teacher. 

At  the  word,  every  child  in  the  room  makes  a  dart  for  his 
pencil,  and  sets  to  work  with  the  utmost  expedition. 

Presently  the  teacher,  who  is  as  usual  passing  up  and 
down  the  aisles,  feels  her  dress  pulled,  and  turning,  dis- 
covers a  child — a  new  pupil  but  lately  moved  into  the 
place— who  has  chosen  this  mode  of  attracting  her  attention. 

"  What  is  it,  Jimmie?"  she  questions. 

"  Please  tell  that  sentence  again?"  says  the  small  stranger. 

"I  never  give  a  sentence  more  than  once,"  replies  the 
teacher  gently,  yet  firmly. 

"  But  I  didn't  hear  it,"  urges  the  boy. 

"Very  well;  then  you  cannot  write  that  one,"  decides 
the  teacher;  adding— possibly  by  way  of  precaution — "you 
may  fold  your  hands  and  wait  for  the  next." 


A   LESSON  IN  SPELLING.  465 

The  new-comer  has  had  his  first  lesson  in  "Quincy 
Methods,"  and  he  looks  as  though  he  did  not  particu- 
larly enjoy  it.  When  the  next  sentence  is  given  out,  he 
will  probably  have  deserted  the  ranks  of  those  who  "  having 
ears,  hear  not ;"  and  it  is  to  be  hoped, — forever. 

Meantime  the  teacher  who  has  gone  on  her  way,  has  found 
a  slate  not  quite  to  her  liking,  and  informs  the  small  scribe, 
"  I  want  more  careful  writing,  Willie."  Again  she  is  better 
pleased,  and  commends  thus:  "  This  little  girl  is  improving, 
I  am  glad  of  that."  But  coming  upon  a  wrong  form,  she 
brings  her  sponge  into  requisition,  and  as  she  erases,  in- 
structs the  misspeller.  ' '  If  you  don't  know  how  to  spell  a 
word,  you  may  put  a  line  in  its  place." 

By  this  time  all  have  finished,  and  are  waiting  with  folded 
hands. 

This  is  the  second  sentence;  "Where  are  you  going, 
little  boy?" 

The  class  repeat  the  question,  and  wait, — eager,  alert,  but 
motionless,  till  the  command  is  given.  "  Write !" 

Swiftly  and  with  one  accord,  they  snatch  their  pencils 
and  fall  to  work,  while  the  teacher  pursues  her  slow,  noise- 
less walk  among  them ;  making  here  a  comment,  erasing 
there  a  word,  or  lifting  now  and  then,  a  bent  figure. 

As  soon  as  the  pupils  begin  to  assume  the  attitude  of  rest, 
the  teacher  passes  at  once  to  the  front,  that  no  time  may  be 
wasted.  When  the  slowest  writer  lays  his  pencil  quietly 
in  the  groove  of  his  desk,  the  teacher  speaks;  "  Now  I  will 
give  you  the  last  sentence.  Here  are  some  very  pretty 
flowers.  Eepeat !" 

The  words  are  echoed  back  in  full  and  perfect  concert. 

"  Write!" 

They  obey  as  if  moved  by  one  will,  and  once  more  every 
eye  is  bent  upon  the  slates,  every  hand  is  spelling  the  words, 
and  every  mind  is  absorbed  in  the  task. 

One  after  another  the  bowed  heads  come  up;  one  after 


466      THE    "QUINCY  METHODS"   ILLUSTRATED. 

another  the  pencils  are  laid  down;  one  after  another  the 
young  copyists  take  the  required  position. 

"Pass  the  slates!"  dictates  the  teacher,  whereupon  the 
pupils  turn  and  hand  their  slates  to  those  sitting  just  be- 
hind them,  with  the  exception  of  the  last  in  each  row,  who 
take  theirs  up  to  the  pupils  sitting  at  the  head  of  .the  lines. 

This  is  done  in  a  second,  and  Julia  is  called  upon  to  read 
the  first  sentence  to  the  teacher,  who  writes  it  slowly  and 
carefully,  upon  the  board,  each  child  looking  from  board  to 
slate,  and  slate  to  board,  following  word  by  word,  the  spelling 
as  it  silently  proceeds ;  the  teacher  halting  slightly  after  each 
word,  to  give  the  inexperienced  examiners  plenty  of  time. 

"See,"  she  bids,  as  she  puts  her  period  in  its  place;  "if 
your  sentence  ends  as  mine  does,  with — 

"  A  dot!"  conclude  the  children. 

"  You  know  that  you  are  to  draw  a  line,  if  there  is  a  wrong 
word,"  notifies  the  teacher,  to  remind  the  thoughtless. 

"  Clara,  read  the  next." 

Again  the  teacher  writes,  and  again  the  tiny  critics  scan 
the  slates  they  hold,  to  see  if  all  is  right. 

The  last  sentence  is  read  by  the  pupils,  written  by  the 
teacher,  and  examined  by  the  class ;  then  comes  the  order, 
"Return  the  slates!" 

Immediately  the  anxious  owners  are  investigating  their 
work  to  see  if  all  is  right,  or  what  is  wrong.  The  misspelled 
words  are  at  once  erased,  and  rewritten  properly,  while  the 
teacher— here,  there,  and  everywhere — is  observing  the 
marking  on  the  slates  and  overlooking  the  corrections  that 
are  being  made. 

Upon  the  two  careless  little  examiners  that  she  discovers, 
she  pronounces  sentence  thus;  "I  cannot  let  you  be  my 
teachers  to-morrow.  I  must  have  careful  girls  and  boys  to 
do  such  work." 

At  this,  one  head  drops  down  upon  the  desk,  and  tears 
flow  freely  for  a  while,  but  the  other  merely  shrugs  his  shoul- 


A    LESSON  IN  SPELLING.  467 

ders,  affecting  an  indifference  that  he  does  not  feel,  because 
his  pride  will  not  allow  him  to  do  otherwise. 

The  general  exercise  now  being  over,  the  class  divides 
again.  The  first  group  in  Number  is  called  out  for  a  les- 
son ;  and  those  left  in  the  seats  are  asked  to  illustrate  their 
last  song,  by  drawing  a  picture  of  a  boy  taking  off  his  hat 
and  making  a  bow  to  a  lady ;— f  or  Busy- Work. 


Notes  and  Comments. 

As  a  rule,  young  children  recognize  and  accept  the  inevi- 
table instantly;  which  cannot  be  said  of  their  elders, — 
"  more's  the  pity."  As  a  rule  too,  young  children  are  keen 
to  see,  and  quick  to  take  advantage,  when  a  fiat  is  not  inevi- 
table. Hence  the  moral  of  this  lesson  is, — read  a  sentence 
(or  ask  a  question)  twice,  and  pupils  will  need  to  hear  it 
twice ;  read  it  but  once,  and  they  will  grasp  it  immediately. 


CHAPTEE  X. 

DRAWING, 

THE  work  done  in  this  branch  of  study  (which  is  included 
in  the  daily  program),  in  the  schools  of  Quincy,  is  from 
first  to  last  peculiarly  practical.  For  this,  due  credit  must 
be  given  to  Mr.  Chas.  M.  Carter  of  the  Massachusetts  Nor- 
mal Art  School,  who  has  had  the  supervision  of  this  de- 
partment for  nearly  three  years.  His  motive  has  been — to 
quote  from  his  Eeport  as  Agent  of  the  Board  of  Education— 
"  to  present  Drawing  in  the  way  it  is  to  be  used."  In  other 
words,  as  the  children  need  to  be  able  to  draw  objects  after 
they  leave  school,  they  are  taught  to  draw  directly  from  the 
object  in  many  of  their  lessons.  As  the  ability  to  illustrate 
anything,  and  everything,  is  exceedingly  valuable  in  com- 
mon life,  the  pupils  are  required  to  do  free-hand  sketching, 
in  connection  with  their  other  studies,  all  the  way  through 
their  eight  years'  course. 

Mr.  Carter's  plan  of  work  includes  in  the  teaching  of 
form, — the  training  in  observation,  the  exercise  of  expres- 
sion, and  the  development  of  invention.  That  is,  the  chil- 
dren are  taught  to  make  observations  through  the  senses  of 
sight  and  touch,  and  to  express  -the  results  thus  obtained, 
by  reproductions  in  clay,  representations  by  drawings,  or 
descriptions  by  means  of  language.  In  addition  to  this,  the 
pupils  are  led  to  exercise  their  creative  power ;  being  given 
nearly  every  day— as  Busy- Work — various  kinds  of  sugges- 
tive material,  such  as  splints,  sticks,  bits  of  colored  paper, 
etc.,  to  arrange.  Side  by  side  with  this  teaching,  which 


DRA  WING.  469 

tends  toward  the  gaining  of  form  concepts,  runs  the  train- 
ing in  the  technic  of  the  work,— the  power  to  do.  From 
this,  it  will  be  seen  that  Drawing  also  falls  into  line  with 
the  New  Education,  along  with  the  rest  of  the  Common 
School  studies,  being  in  truth,  only  another  form  of 
thought  and  expression,  while  the  motive  just  cited  as  gov- 
erning the  presentation  of  this  subject,  is  really  a  restate- 
ment of  the  fundamental  principle  of  the  New  School  of 
pedagogics,— "  We  learn  to  do  by  doing."  The  most  re- 
markable results  obtained  from  Drawing  thus  taught,  are 
the  following.  (1)  The  increase  of  ability  to  see.  (2)  The 
power  derived  from  an  additional  means  of  expression.  (3) 
The  practical  service  rendered  by  the  ready  skill  of  hand,— 
the  faculty  of  execution  acquired  through  the  technical 
training. 

The  first  year's  Course  of  Study,  begins  with  the  teaching 
objectively,  of  the  general  forms,  of  bodies  •  spherical,  cubi- 
cal, etc.  The  children  are  then  led  gradually  to  see,  and 
learn  of  the  common  qualities  of  form,  viz. :  surface,  plane 
and  curved;  line,  straight  and  curved;  and  point.  Next 
follows  the  study  in  detail,  of  the  position  of  points,  the 
direction  of  lines,  and  the  meaning,  and  use  of  the  terms 
vertical,  horizontal,  oblique,  parallel,  perpendicular,  etc. 
When  all  this  has  been  learned,  the  little  ones  are  ready  to 
be  taught  the  different  kinds  of  angles.  Meantime,  ex- 
ercises in  invention  are  constantly  being  given,  and  the 
pupils  who  began  with  the  placing  of  pegs,  splints,  or  sticks, 
in  symmetrical  shapes,  half  unconsciously,  are  progressing 
little  by  little,  to  the  conscious  arrangement  of  geometric 
forms,  according  to  the  principles  of  symmetry  and  re- 
petition, in  original  designs.  Supplementary  to  all  this,  is 
practice  in  measuring  and  judging,  in  ruling  and  dividing 
distances. 

When  such  clear  conceptions  of  angles  have  been  ac- 
quired that  they  can  be  seen  everywhere,  by  the  children, 


470      THE  "QUINCY  METHODS"   ILLUSTRATED. 

and  reproduced  with  a  good  degree  of  accuracy,  the  small 
artists  are  prepared  for  the  combinations  of  these,  as  found 
in  the  triangles:  right,  isosceles,  and  equilateral.  Next  in 
order,  is  taught  the  square,  both  on  its  diameters,  and  its 
diagonals ;  and  after  this,  —  probably  toward  the  close  of 
the  second  year,— the  oblong. 

Beyond  this  grade,  the  lessons  become  mainly  concrete 
in  character:  that  is,  the  object  is  presented,  and  the  pupils 
draw  it ;  the  teaching  consisting  entirely  of  suggestions  and 
criticisms.  There  is,  therefore,  no  need  of  any  representa- 
tion of  the  work  done  in  Drawing  after  the  photograph 
which  follows. 


A  LESSON  IN  FORM.-THE  OBLONG. 

PURPOSE  OF  THE  LESSON.— First.  To  teach  the  children 
what  an  oblong  is. 

Second.  To  train  them  to  see  it,  wherever  found. 

PREPARATION  MADE  BY  THE  TEACHER.— Contriving  the  little 
device  of  going  from  the  known— the  square— to  the  un- 
known,—the  oblong. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  training  they 
have  had,  either  in  school  or  out,  in  seeing. 

PLAN  OF  THE  LESSON.— First.  Lead  the  children  to  describe 
the  square. 

Second.  Send  a  girl  and  a  boy  to  the  board  to  draw  the 
square,  and  let  the  rest  of  the  class  draw  the  same  on  their 
slates. 

Third.  Have  the  best  square  on  the  board  projected 
toward  the  right,  forming  thus  an  oblong;  then  give  the 
name. 

Fourth.  Ask  the  pupils  to  find  all  the  oblongs  they  can 
in  the  room. 


A   LESSON  IN  FORM.— THE   OBLONG.  47 1 

Fifth.  Set  them  to  drawing  oblongs  in  various  positions. 

Sixth.  Request  the  children  to  look  for  oblongs  at  home, 
and  on  the  way,  and  to  let  me  know  to-morrow,  what  they 
find. 


THE  LESSON. 

uTell  me  something  about  a  square,"  is  the  abrupt,  yet 
smiling  demand  of  the  teacher,  as  her  class,  vigilant,  silent 
yet  not  knowing  the  subject  of  the  lesson  to  be  given,  sit 
before  her  in  the  position  of  attention. 

"It  has  four  sides,"  is  the  first  statement  made. 

"The  sides  are  all  the  same  length,"  advances  a  second. 

"  It  has  four  angles,"  contributes  another. 

"The  angles  are  right  angles,"  proclaims  the  fourth 
speaker  moderately,  as  if  thinking  the  matter  out  as  he 
goes  along. 

"  George  and  Minnie,  I'd  like  to  have  you  go  to  the 
board,"  proposes  the  teacher;  "  and  draw  a  square  for  me. 
I  want  the  sides  each  a  foot  long.  The  rest  of  you  may 
draw  on  your  slates  a  square,  the  sides  of  which  shall  be 
an  inch  long." 

Within  ten  seconds,  every  child  in  the  room  is  as  busy 
as  a  bee. 

When  all  have  finished  their  squares,  the  teacher  turning 
toward  the  board  says,  "George,  you  may  erase  the  line 
at  the  right  of  your  square.  That  leaves  how  many  lines, 
class?" 

"  Three,"  agree  the  pupils. 

"  Now,  bisect  each  of  those  lines,"  dictates  the  instructor. 

The  boy  works  slowly,  and  cautiously,  keeping  in  mind 
the  fact  that  over  fifty  pairs  of  keen  eyes  are  watching 
every  move. 

This  being  done,  the  teacher  says— speaking  with  im- 
pressive deliberation — "Place  a  point  at  the  right  of  the 


47  2      THE   "QUINCY  METHODS"  ILLUSTRATED. 

upper  line,  just  as  far  from  the  end,  as  the  point  of  bisec- 
tion at  the  left.  Do  the  same  with  the  bottom  line." 

Poising  his  crayon  for  the  lower  point,  he  places  it  a 
trifle  out  of  line.  His  girl- comrade  at  the  board — who  has 
a  truer  eye  than  he— casts  a  swift,  half-apologetic  look  in 
his  face,  and  then  puts  her  small  forefinger  where  the  dot 
should  be.  He  shifts  his  crayon  like  a  flash,  accepts  her 
help,  but  gives  her  back  no  answering  glance,  not  even  a 
smile  for  thanks. 

"Extend  the  top  and  bottom  lines,"  continues  the  teacher, 
"  to  these  points." 

The  boy  works  as  if  steadied  by  the  gazing  eyes. 

"  Connect  the  upper  and  lower  points  by  a  straight  line," 
is  the  concluding  direction. 

It  is  done,  and  the  square  has  been  transformed  into  an 
oblong. 

4 'Do  you  see  a  square  on  the  board  now?"  inquires  the 
teacher. 

"  Yes'm,  Minnie's,"  is  the  unhesitating  response. 

"  Do  you  see  George's?" 

"  George's  isn't  a  square  any  more,"  decide  the  voices. 

"It  has  four  sides,  and  four  right  angles,"  states  the 
teacher,  as  if  arguing  the  matter. 

"But  the  sides  are  not  equal!"  exclaims  a  wide-awake 
youngster. 

"What  can  you  tell  me  about  the  sides?"  asks  the 
teacher,  working  toward  a  definition. 

"  It  has  two  long  sides,  and  two  short  sides,"  is  the  first 
answer  that  she  gets. 

"Two  of  the  sides  are  longer  than  the  others,"  is  the 
way  a  second  puts  it. 

"Are  the  sides  equal?"  queries  the  teacher  suggestive- 

iy. 

"Yes'ml"  calls  out  a  boy  hastily,  then  considering  the 
matter  a  little,  he  subjoins,  "  two  of  them  are." 


A   LESSON  IN  FORM.— THE   OBLONG.  473 

"How  so,  Guy?"  insists  the  teacher,  holding  him  to  the 
point. 

"  The  two  long  ones  are." 

"  And  the  two  short  ones  too,"  speaks  out  Minnie,  from 
her  place  at  the  board. 

"Yes.  Who  can  tell  me  anything  else  about  it?"  inter- 
rogates the  teacher,  turning  to  look  at  the  figure;  thus 
seeking  by  her  action,  to  fix  the  eyes  of  the  class  upon  the 
drawing,  that  they  may  see  the  one  thing  more  to  be 
discovered. 

After  a  moment  of  silence,  during  which  all  are  studying 
the  figure  attentively,  a  child  calls  out  jubilantly,  "I  see 
it!  I  know;  the  two  short  ones  are  two  thirds  as  long  as 
the  two  long  ones." 

"  I  think  they  are,"  acquiesces  the  teacher,  as  gratified  as 
the  child,  at  this  bit  of  good  thinking.  "  George  and  Min- 
nie, you  may  pass  to  your  seats.  Children,  this—"  going 
to  the  board  and  touching  it  as  she  names,  "is  an  oblong. 
Find  an  oblong  somewhere  else  in  the  room." 

"The  motto,"  espies  a  bright  little  girl,  first  of  all,  then 
follows,— "The  picture  over  the  table;"  "That  box  on  the 
table;"  "The  window." 

"The  two  sides  are  longer  than  the  top  and  bottom  in 
that,"  objects  George,  who,  having  made  the  oblong,  thinks 
he  ought  to  know. 

"But  the  two  opposite  sides  are  equal,  and  it  has  four 
right  angles.  I  shall  call  it  an  oblong,"  is  the  placid  decree 
of  the  teacher.  The  matter  of  position  being  thus  clearly 
disposed  of,  the  answers  come  thick  and  fast. 

"My  slate." 

"The  door." 

"  The  other  pictures." 

"I  see  four  oblongs  in  the  door!"  fairly  shouts  a  child  in 
the  excitement  of  his  new  discovery. 


474      THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

"The  window  pane,"  calls  out  another  who  begins  to 
look  for  parts  in  wholes. 

u  The  table." 

"That  book  on  it,"  affirms  a  ready  reasoner,  who  has 
progressed  so  that  he  can  see  an  oblong  on  the  diagonal. 

"My  scarf,"  designates  one,  passing  from  the  realm  of 
observation,  to  the  realm  of  imagination. 

This  leads  another  to  think  of,— "  My  handkerchief," 
pulling  it  out  of  his  pocket,  and  beginning  to  measure  the 
sides. 

"  My  handkerchief  isn't  quite  square,"  publishes  one,  a 
little  irrelevantly. 

"Then  what  do  you  think  it  is?"  inquires  the  teacher, 
swift  to  see  his  doubt. 

"  I  don't  know,"  admits  the  child. 

"Hold  it  up,  and  let  the  rest  see." 

"Please,"  entreats  an  earnest  little  damsel,  "may  I 
measure  it?" 

"Yes,  if  Harry  is  willing,"  permits  the  teacher. 

The  boy  hands  over  the  wished-for  article;  it  is  meas- 
ured, with  a  vigilance  committee  of  fifty-three  watching  the 
proceeding,  and  the  judgment  comes, — "  It  is  an  oblong." 

"Can  you  see  anymore  in  the  room?"  interrogates  the 
teacher,  striving  to  set  the  young  eyes  travelling  again. 

"  That  box-cover,"  spies  a  lassie,  after  a  moment's  silence. 

"Oh,  I've  found  lots  more,  big  ones  too!"  proclaims  a 
boy  excitedly.  *  *  The  blackboards !" 

"  I  can  see  a  bigger  one  yet,"  boasts  a  boy  before  the  ex- 
clamatory "  Ohs"  of  the  children  at  the  previous  find,  have 
died  away. 

"Well?"  says  the  teacher,  smiling  at  his  enthusiasm. 

"The  ceiling." 

"And  the  floor,"  ejaculates  another  boy,  whom  the  idea 
has  just  struck. 

This  is  the  climax,  so  here  the  teacher  shrewdly  puts  her 


A   LESSON  IN  FORM.-THE   OBLONG.  475 

period  by  saying,  "  Draw  for  me,  on  your  slates,  an  oblong 
like  the  window." 

This  is  soon  completed;  then  holding  up  an  envelope 
diagonally,  she  dictates,  "Draw  this!"  Her  last  object  is 
a  box-cover,  long  and  narrow,  which  is  inclined  in  the  oppo- 
site direction  from  the  envelope,  to  make  the  youthful  art- 
ists remember  that  an  oblong  is  an  oblong,  no  matter  what 
its  position. 

Then  the  lesson  closes  thus. 

"What  have  we  been  talking  about  this  morning?" 

"Oblongs,"  determine  the  children,  with  one  accord. 

"When  school  is  dismissed,  and  you  are  going  home,  I'd 
like  to  have  you  look  for  oblongs  on  the  way,  and  find  all 
that  you  can  after  you  get  there;  and  I'll  call  upon  you  to 
tell  me  about  them  to-morrow.  Good-by." 


Notes  and  Comments. 

When  the  child  has  gained  perfect  concepts  of  two  (or  at 
most  three)  fundamental  forms,  he  has  mastered  the  whole 
world  of  form,  because  everything  seen  is  made  up  of  these, 
which  are  already  in  his  mind.  If  it  were  for  the  training 
in  form  alone,  the  study  of  Drawing  would  be  invaluable. 

EXPLANTORY. 

The  greater  proportion  of  the  Drawing,  in  the  second  year's 
course,  being  done  upon  blackboard  and  slate;  it  is  diffi- 
cult to  fairly  represent  the  results  obtained,  by  means  of 
samples.  However,  a  few  are  here  given  that  may  serve 
as  illustrations  of  the  kind  of  work  done.  The  first  three  of 
these  are  specimens  of  inventions,  such  as  are  made  by  the 
pupils  during  Busy-Work  periods.  The  fourth  is  a  copy 
from  a  picture.  Very  little,  comparatively,  is  gained  from 
this  sort  of  drawing,  aside  from  ideas  of  how  objects  can  be 


THE    "  QUINCY  METHODS"   ILLUSTRATED. 

represented  upon  a  flat  surface.  But  the  children  enjoy  it, 
for  a  change,  and  sometimes  ask  permission  to  copy,  as  did 
the  little  boy  whose  picture  is  reproduced.  The  fifth  was 
drawn  directly  from  the  object,  without  any  help  from  the 
teacher.  It  is  also  presented,  because  it  shows  how  Draw- 
ing can  be  employed  as  an  aid  in  the  study  of  other  branches, 
in  this  case— of  Botany. 


IV. 


V. 


CHAPTER  XI. 

CLAY   MODELLING. 

THE  Modelling  in  Clay  accomplishes  three  things :  (1)  It 
affords  the  best  of  opportunities  for  the  teaching  of  form. 
(2)  It  trains  the  hand  and  eye.  (3)  It  develops  creative 
power.  That  is  to  say,  this  work  lays  the  foundation  for 
Geometry  and  Drawing,  for  Industrial  Education,  and  for 
Sculpture. 

It  is  unfortunate,  that  a  study  involving  so  much  in  the 
way  of  growth  should  be  dropped  at  the  end  of  two  years. 
But  such  is  really  the  case.  In  fact  no  teaching  is  done, 
except  during  the  first  year ;  Modelling  being  introduced  in 
the  second  grade  as  an  occupation  merely,  and  the  pupils 
work  without  assistance  save  in  the  way  of  encouragement. 
Thus  set  free  from  other  guidance,  the  little  ones  pass  under 
the  sway  of  that  great  teacher, — Nature,— and  do  instinc- 
tively, what  they  might  better  have  done  at  first,  viz. :  they 
reproduce  the  known,  the  familiar;  they  model  forms  of 
life.  Later  on,  if  still  left  to  themselves,  they  would  in- 
evitably discover,  in  these,  the  fundamental  forms;  and 
then,  the  training  in  the  modelling  of  spherical  and  cubical 
bodies,  might  properly  begin. 

An  illustration  of  the  manner  in  which  the  pupils  are  set 
to  work,  is  here  presented. 

AN  EXERCISE  IN  MODELLING  IN  CLAY.— A  BIT  OF  BUSY-WORK. 

When  the  second-year  pupils  of  the  Garlin  school,  gather 
in  their  seats  at  the  close  of  the  noon  recess,  one  lovely 


47 8      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

April  day,  their  faces,  always  cheery  and  full  of  life  in  the 
schoolroom,  beam  with  still  brighter  radiance,  as  they 
catch  sight  of  something  on  the  teacher's  table.  That  some- 
thing, is  a  tray  containing  a  lump  of  moistened  clay,  while 
lying  near  at  hand,  is  a  wire  for  cutting ;  and  these  mean, 
that  the  Busy- Work  this  afternoon,  will  be  modelling  in  clay, 
of  which  the  children  are  passionately  fond. 

But  this  silent  promise  of  a  treat  does  not  demoralize  the 
little  people  in  the  least,  nor  does  it  interfere  a  particle  with 
the  regular  work.  On  the  contrary,  the  small  students  are, 
if  possible,  a  shade  more  zealous  than  common,  a  degree 
more  unflagging  in  their  efforts  at  self-control.  A  fact,  the 
resultant  of  two  causes.  First,  pleasurable  episodes  are  not 
infrequent  in  the  school  lives  of  these  pupils,  and  second, 
what  they  are  given  to  do  is  work,  real  work,  and  not 
drudgery. 

Thus  are  they  taught  two  of  those  three  great  lessons, 
every  child  should  master  in  the  common-schools,  viz. :  "  to 
work,  to  love  to  work,  and  to  work  systematically." 

When  the*  first  group  have  finished  their  reading  lesson, 
the  teacher  says  to  the  boy  standing  nearest  to  her,  "  Henry, 
what  would  you  like  to  make  out  of  clay  this  afternoon?" 

The  boy  casts  a  hasty  glance  to  right  and  left,  as  if  search- 
ing for  a  model,  and  catching  sight  of  a  spoon  lying  on  the 
teacher's  table,  decides  without  more  ado,  ''I'll  make  a 
spoon." 

"  Will  this  piece  of  clay  be  large  enough?"  asks  the  teacher, 
indicating  a  section  running  the  whole  length  of  the  square 
block  of  clay,  which  she  has  been  cutting  with  the  wire 
while  he  made  up  his  mind. 

"  Yes'm,"  responds  the  boy. 

"  Very  well ;  take  it,  and  I'll  lend  you  my  spoon  to  look  at." 

The  would-be  sculptor  utters  a  hasty  but  gratified  ' '  Thank 
you,"  picks  up  his  long  piece  of  clay,  takes  the  spoon  from 
the  desk,  and  walks  off  to  his  seat,  where  depositing  his 


CLAY  MODELLING.  479 

treasure— the  clay — upon  his  slate,  and  the  spoon  length- 
wise upon  his  desk,  he  takes  a  good  long  look  at  his  model 
and  then  goes  to  work. 

Meantime,  the  teacher  is  giving  out  the  clay  to  other 
members  of  the  same  group,  who  stand  clustered  around 
her,  waiting  their  turn. 

Fred  wants  to  make  an  anchor,  and  thinks  he  can  do  so 
without  a  model. 

Jennie  has  decided  upon  a  key,  and  been  allowed  tb  take 
the  one  from  the  door,  to  look  at. 

Ella  thinks  that  she  could  model  a  fan,  like  one  a  neigh- 
boring maiden  has  brought  to  school  to  exhibit,  if  she  could 
borrow  it  for  a  little  while. 

"If  Essie  is  willing,  I  am,"  permits  the  teacher,  where- 
upon that  little  woman  graciously  assents,  and  the  admired 
article  is  carefully  laid  upon  the  farther  corner  of  the 
young  modeller's  desk,  for  fear  of  soiling. 

"  What  will  you  do,  Mary?" 

"  I  want  to  make  a  wash-board,"  specifies  the  girl. 

"Well,  here  is  your  clay,  but  I  haven't  any  wash-board 
for  you;  can  you  remember  how  your  mother's  looks?" 

"Yes'm." 

"Very  well;  you  may  try.  What  is  Walter  going  to 
make  to-day?" 

"A  cup— like  that  one,"  designates  Walter,  who  has  been 
looking  around. 

"You  won't  need  much  clay  for  that,"  cutting  a  small 
piece.  "  Get  the  cup  as  you  go  to  your  seat.  Susie?" 

"I  am  going  to  try  to  make  an  umbrella,"  proposes  the 
child. 

"That  will  be  rather  a  hard  thing  to  model,"  intimates 
the  teacher;  "but  I  shouldn't  wonder  if  you  could  do  it, — 
here's  your  clay,"  cutting  a  section — "would  you  like  an 
umbrella  to  look  at?" 

"Oh,  yes'm,"  is   the  eager  assent,   the  small  maiden's 


480      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

whole  face  lighting  at  the  idea  of  a  model,  which  the  day 
being  clear,  she  had  not  expected  to  have. 

"  Go  and  look  in  my  closet;  I  think  you'll  find  an  old  one 
that  I  keep  at  school  for  sudden  showers.  Now  John,  what 
is  your  idea?" 

"I  want  to  make  a  monument,  just  as  my  father  does." 

"That's  good,"  approves  the  teacher.  "Show  me  how 
large  it  is  going  to  be." 

The  boy  measures  with  his  hands,  and  the  teacher  watch- 
ing, cuts  her  clay  accordingly,  and  that  pupil  is  disposed  of. 

"  Mike,  what  do  you  propose  to  make?" 

"A  pig,  so  big,"  is  the  sudden,  brief,  unconscious  rhyme, 
of  that  descendant  of  "Quid  Ireland." 

"I  don't  know  about  that,"  observes  the  teacher  doubt- 
fully ;  but  the  disappointment  in  the  boy's  face,  causes  her 
to  add  hastily  as  she  hands  him  the  clay;  "perhaps  you 
might;  let  me  see  what  you  can  do?"  and  another  child  is 
happy.  "What  do  you  propose  to  model,  Gertie?" 

"  That  vase,  if  you  will  please  be  so  kind  as  to  lend  it  to 
me,"  is  that  very  polite  little  damsel's  answer. 

"  Oh,  certainly!"  acquiesces  the  teacher;  "lay  the  flowers 
on  the  window-sill,  throw  out  the  water,  and  take  the  vase 
to  your  desk.  Willie  will  make  a—" 

"  Coal-hod !"  affirms  that  young  man  briskly. 

"Will  this  be  clay  enough?"  inquires  the  teacher. 

"  Yes'm,  and  where  can  I  get  a  hod?"  asks  the  lad. 

"I  didn't  promise  to  furnish  that,"  smilingly  notifies  the 
teacher;  "  but  I  think  one  might  be  found  in  the  basement. 
You  may  put  your  clay  on  your  slate,  and  go  and  see. 
Now  Arthur,  tell  us  what  you  wish  to  make." 

"  I'll  make  a  clay  fish,"  announces  Arthur. 

"How  large?"  is  the  question,  as  the  teacher  holds  her 
wire  suspended,  ready  to  cut. 

"So  long,"  says  the  boy,  measuring  with  his  hands; 
"and  so  wide." 


CLAY  MODELLING.  481 

"  Have  you  seen  a  fish  lately?"  queries  the  teacher  as  she 
gives  him  a  piece  of  clay  of  the  required  size  and  shape. 

"  Yes'm,  this  morning,"  is  his  brisk  response,  as  he  turns 
away. 

"Here  is  this  little  girl,  left  last  of  all;  what  will  she 
make  for  me,  I  wonder?"  interrogates  the  teacher,  looking 
approvingly  down  into  the  sweet,  upturned  face  of  a  child, 
whose  gentle  ways  have  made  her  the  favorite  of  her 
mates,  as  well  as  the  beloved  of  her  teacher. 

"  I  thought  I'd  like  to  try  to  make  a  cap  like  Charley's," 
replies  the  lassie. 

" I  think  you  may,"  smiles  the  teacher;  "don't  make  it 
very  large, — and  Charley,  are  you  willing  to  lend  your  cap 
for  Carrie  to  look  at,  while  she  is  making  one  in  clay?" 

"Yes'm,  I'll  go  and  get  it  for  her,"  is  the  ready  and 
chivalrous  assent  of  that  small  gentleman. 

"Thank  you,  that  will  be  kind,"  commends  the  teacher, 
beaming  upon  him  as  she  speaks.  "Now  the  second  group 
may  come  and  read,"  and  the  little  modellers  are  left  to 
their  own  devices. 

When  the  period  for  Busy -Work  has  expired,  the  clay 
models  are  collected,  and  set  away  to  dry.  If  successful 
imitations,  they  are  kept  for  a  while,  and  if  not,  they  are 
destroyed. 

Some  reproductions  of  the  clay- work,  modelled  entirely 
without  assistance  by  these  little  children,  are  given.  They 
are  not  selected  specimens,  and  therefore  not  the  work  of 
talented  pupils,  merely,  but  show  what  any  member  of  any 
class  of  that  grade  may  do  with  a  little  practice. 


SECTION  SEVENTH. 


I.  Preliminary. 
II.  Elementary  Zoology.— A  Study  of  the  Dog. 

III.  A  Lesson  in  Botany. — The  Blackberry. 

IV.  Supplementary  Geography. 

V.  An  Exercise  in  Reading  and  a  Recitation. 
VI.  Language  Lessons  and  Papers. 
VII.  A  Lesson  in  Arithmetic. 
VIII.  Some  Spelling  and  its  Examination. 


In  Section  Seventh  will  be  found  the  photographs 
of  lessons,  and  the  papers  of  pupils,  that  represent 
the  work  of  the  Third  Primary  Year. 


CHAPTER  I. 

PRELIMINARY. 

Two  years  should  suffice  to  lay  the  first  foundation  of 
most  of  the  work  done  in  the  Primary  School.  After  this, 
comes  the  steady  building  in  to  the  minds  of  the  children 
upon  this  foundation.  In  the  years  just  passed,  the  gaining 
of  sense  products  as  a  basis  for  imagination,  and  the  stor- 
ing up  of  facts  as  the  beginning  of  knowledge  have  been  un- 
intermitting.  Day  by  day,  the  pupils  have  been  led  by 
short  and  easy  steps,  from  the  known  to  the  unknown; 
and  as  all  lessons  have  been  language  lessons  (either  oral  or 
written),  arid  as  every  exercise  has  consisted  of  expression 
in  some  form,  expression  has  kept  pace  with  thought.  All 
this  time,  too,  the  children  have  had  constant  practice 
under  good  guidance,  of  the  observing  faculties,  and  thus 
they  have  become  careful  and  clear- eyed  observers.  Now 
commences  closer  comparison  and  classification, — the  pre- 
paratory steps  to  logical  reasoning. 

So  much  for  their  intellectual  status;  their  moral  prog- 
ress has  been  in  the  nature  of  things  slower,  but  possibly 
just  as  sure.  The  training  in  good  habits  has  been  strong 
and  steady,  and  any  tendency,  no  matter  how  slight, 
toward  wrong,  has  been  guarded  against  with  unceasing 
vigilance.  The  idea  of  self-government,  has  been  cultivated 
and  stimulated  at  all  seasons,  and  under  all  circumstances ; 
while  the  enthusiasm  for  work, — kindled  when  it  was 
thought  to  be  play, — is  fanned  into  flame  by  every  device 
that  can  be  invented.  As  a  consequence,  these  little  folks, 


4-S6      THE   "QUINCY  METHODS"  ILLUSTRATED. 

who  have  never  had  done  for  them,  anything  which  they 
could  do  for  themselves,  take,  as  it  is  only  natural  that  they 
should,  as  keen  a  zest  in  mental  activity  as  in  physical, 
and  find  their  work  no  drudgery,  but  as  pleasant  as  play. 

Physically,  the  pupils  of  the  Quincy  Schools  are  not  as 
well  provided  for,  as  mentally  or  morally.  They  have  a 
limited  amount  of  exercise,  and  but  little  real  training  in 
this  grade,  where  it  should  begin.  This  means  that  in  this 
respect,  these  schools  are  no  worse  (possibly  a  little  better) 
than  the  great  majority  of  other  schools:— a  statement 
which,  considering  the  light  these  teachers  have,  is  in  itself 
a  criticism. 

NUMBER. 

As  the  work  in  Number  passes  out  of  the  elementary 
stage  and  becomes  arithmetic  proper,  the  manner  of  ex- 
pression changes  gradually,  from  oral  words  to  written 
characters;  and  the  children  have  been  led  to  learn,  little 
by  little,  this  new  language.  They  are  now  supposed  to 
have  fully  in  mind,  the  facts  of  such  numbers  as  are  taught 
orally,  and  with  this  knowledge  and  the  figure  work  of  the 
preceding  year,  should  be  ready  to  deal  with  the  written 
language  of  Number. 

But  it  is  hardly  possible  that  every  pupil  in  a  large 
class,  will  be  thoroughly  fitted  for  the  work  which  is  to 
follow:  therefore  here  and  now,  is  the  time  and  place,  to 
go  over  and  test  the  results  of  all  previous  teaching.  Hav- 
ing taught  the  pupils  all  that  they  know  of  Number,  from 
numbers  of  things,  the  first  resort  of  these  teachers,  when  a 
weak  place  is  found,  or  feared,  is  to  return  immediately  to 
objects.  An  illustration  of  this  is  given  in  the  lesson  tran- 
scribed in  this  Section,  which  also  delineates  the  manner  of 
teaching  a  now  form  of  the  written  language  of  Number. 

All  the  processes  which  can  be  performed  with  numbers, 
were  presented  the  first  year.  The  second  year  continued 


PRELIMINAR  Y.  4$  7 

the  teaching  of  the  smaller  numbers,  introduced  the  use  of 
figures,  and  prepared  the  way  for  the  advance  work  of  this 
grade,  which  is  the  teaching  of  the  fundamental  operations 
with  figures,  including  notation  and  numeration,  and  their 
attendant  necessity, — "borrowing"  or  "carrying."  Thus 
step  by  step,  the  pupils  have  been  led  up  to  this,  which  they 
will  take  the  final  year  of  the  Primary  Course. — Analysis. 

GEOGRAPHY. 

The  lesson  in  this  Section  is,  as  its  name  indicates,  sup- 
plementary to  the  ordinary  work,  which  is  a  continuation 
of  the  teaching  of  structural  Geography,  as  shown  in  the 
three  lessons  included  in  the  preceding  Section.  Such  an 
exercise  as  this  reading  from  Robinson  Crusoe,  serves  several 
purposes  besides  the  very  obvious  one  of  making  a  change 
in  the  school  work.  For  one  thing,  it  affords  an  excellent 
opportunity  for  a  wide  and  interesting  review  in  a  number 
of  branches.  Again,  it  arouses  interest,  stimulates  inquiry, 
and  helps  the  learners  to  realize — in  a  measure — the  great- 
ness, diversity,  and  beauty  of  the  earth.  Best  of  all,  it 
makes  them  rich ;  for  it  lifts  the  horizon  and  shows  them 
lands  beyond ;  new  worlds  for  them  to  conquer. 


CHAPTER  II. 

ELEMENTARY    ZOOLOGY.  —  A    STUDY    OF    THE 

DOG. 

THE  exercise  here  presented  follows  in  direct  sequence 
the  lessons  given  upon  the  horse  and  the  cow  in  the  two 
preceding  grades,  only  it  is  farther  advanced.  Beginning 
at  first  with  seeing  barely  that  which  was  most  obvious, 
and  telling  what  they  saw  in  the  shortest  and  simplest  of 
sentences,  the  little  ones  were  able,  a  year  later,  to  recall 
and  name  the  different  parts  of  the  animals  with  which 
they  were  most  familiar,  in  a  sufficiently  complete  and 
connected  manner,  to  render  the  delineation  recognizable. 

In  this  grade,  the  children  having  learned  how  to  make 
— in  a  very  elementary  way,  it  is  true— their  own  investiga- 
tions, give  the  results  in  written,  instead  of  oral  language. 
The  pupils  are  now  well  started  upon  a  line  of  work,  which 
if  continued,  will  lead  directly  to  the  real  scientific  study 
of  Zoology.  The  lessons  in  the  fourth  year  differ  but 
slightly  in  the  manner  of  their  presentation  from  the  one 
which  follows;  it  is  therefore  unnecessary  to  illustrate 
further — except  by  a  few  samples  of  written  description 
found  in  the  chapter  on  Language  in  this  Section — the  way 
in  which  little  children  may  be  introduced  to  the  science  of 
Zoology. 

EXPLANATORY. 

As  teachers  would  naturally  begin  their  work  in  this 
branch,  with  studies  of  the  commoner  animals,  lessons 


A    STUDY  OF   THE  DOG. 

upon  such  have  been  specially  selected  to  be  photographed, 
that  they  might  be  more  helpful. 


A  STUDY  OF  THE  DOG. 

PURPOSE  OF  THE  LESSON.— First.  To  train  the  pupils  in  the 
habit  of  independent  observation. 

Second.  To  give  the  children  an  exercise  in  "Talking 
with  the  Pencil." 

Third.  To  arouse  an  interest  in  the  science  of  Zoology. 

PREPARATION  MADE  BY  THE  TEACHER.  —  Arranging  for  the 
time  of  the  exercise,  and  deciding  upon  the  quadruped  to 
be  studied. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Their  love  of  dogs,  and 
their  acquaintance  with  the  appearance  and  habits  of  these 
animals. 

PLAN  OF  THE  LESSON.— Find  out  whether  any  of  the  boys 
or  girls  can  bring  a  Newfoundland  dog  to  school.  If  no  one 
can  get  a  Newfoundland,  select  the  next  largest  dog  to  be 
had,  that  will  allow  the  children  to  handle  him.  Request 
the  child  who  is  to  fetch  the  dog,  to  bring  him  this  after- 
noon. 

N.  B. — Remember  to  speak  to  the  class  about  asking 
questions. 

PREPARATORY. 

It  is  high  noon  of  the  short  winter  day.  The  pupils  of 
the  Third  Primary  grade  are  getting  themselves  and  each 
other,  ready  to  go  home ;  working  with  equal  energy,  dis- 
patch and  good-will,  whether  jerking  on  their  own  coats 
and  cloaks,  or  those  of  their  neighbors.  In  two  minutes 
more,  the  gong  will  strike  for  dismissal. 

"Have  any  of  you  a  good-natured  dog  that  you  could 


490      THE   "QUINCY  METHODS"  ILLUSTRATED. 

bring  to  school  ?"  inquires  the  teacher,  of  the  busy,  bust- 
ling, little  people,  a  dozen  of  whom  immediately  suspend 
operations,  in  order  to  fling  up  their  hands  by  way  of  re- 
sponse. 

"What  kind  of  a  dog  is  yours,  Willie?"  questions  the 
teacher  of  the  boy  to  whom  belongs  the  steadiest  of  the 
upraised  arms. 

"  He  is  a  puppy  dog,"  specifies  the  young  man. 

"  What  is  yours,  Henry  ?" 

"  A  real  rat  terrier,"  proudly  proclaims  the  owner  of  the 
animal. 

"John?" 

"Mine  is  a  black-and-tan,  but  he  will  kill  rats  like  any- 
thing," adds  the  boy,  eager  to  recommend  his  own. 

"Yes?"  assents  the  teacher,  with  a  rising  inflection. 
Eddie,  yours  is—" 

"  A  Newfoundland,"  answers  the  child. 

"Patsey?" 

"  I  have  a  black-and-tan." 

"Mabel?" 

"  Mine  is  the  same  kind  as  Henry's." 

"  Is  yours  an  old  dog,  Eddie  ?"  asks  the  teacher,  turning 
toward  the  boy  who  mentioned  the  Newfoundland. 

"  Not  very;  he's  five  months  old." 

"Perhaps  he  wouldn't  like  to  come  to  school,"  intimates 
the  teacher. 

"Oyes'm,  he  would!"  insists  Eddie  earnestly;  "he's  the 
best  dog  I  ever  saw." 

"Very  well;  we  shall  be  pleased  to  have  him  come  to 
visit  us  this  afternoon,  and  we  will  write  a  description  of 
him.  Are  you  ready  to  go  home  ?" 

This  abrupt  change  causes  the  few  children  still  standing, 
to  drop  into  their  seats  with  great  suddenness,  where  they 
finish  their  wrapping  as  expeditiously  as  their  bundled-up 
state  will  allow.  Then  the  gong  strikes,  the  drum  beats, 


A   STUDY  OP   THE  DOG.  49 1 

and  they  pass  out  to  join  the  procession  filing  four  abreast 
down  the  wide  stairway,  out  through  the  hall,  into  the  cold 
keen  air  and  bright  sunlight  beyond. 

At  about  five  minutes  of  two,  Eddie  makes  his  appear- 
ance in  the  schoolroom  with  rather  a  downcast  manner, 
and  no  Newfoundland.  Going  directly  to  the  teacher,  who 
is  writing  problems  011  the  blackboard,  he  says ;  ' '  Miss  E. , 
I  started  to  bring  my  dog,  and  just  before  we  got  to  the 
schoolyard,  we  met  father  in  our  sleigh  going  toward 
home,  and  Jet  ran  off  after  it,  and  wouldn't  come  when  I 
called  him.  Mayn't  I  go  back  and  get  him?" 

' '  How  would  you  manage  to  keep  him  ?"  interrogates  the 
teacher,  beginning  to  fear  lest  the  zoological  specimen  she 
has  selected,  will  decline  to  be  a  specimen  after  all. 

"I'd  tie  a  string  to  his  collar  and  lead  him,  then  he 
couldn't  get  away,"  affirms  Jet's  small  master. 

"That  would  be  a  good  plan,"  agrees  the  teacher;  "but 
we  shall  not  be  ready  to  write  for  an  hour  after  school  be- 
gins. Besides  here  are  all  these  problems  which  I  am  put- 
ting upon  the  board  for  the  Busy- Work  which  your  divi- 
sion* are  to  do  when  you  have  read.  I  don't  want  you  to 
miss  these." 

"I'll  tell  you,"  eagerly  proposes  the  boy.  "If  I  begin 
now,  I  guess  I  can  get  my  problems  done  before  the  rest, 
and  then  may  I  go  ?" 

"Yes,  if  you  think  you  can  get  back  in  ten  minutes." 

"O  I  can  do  it  in  five,  easy,"  calculates  Eddie,  cheering 
up  at  the  permission,  and  starting  off  at  once  for  his  seat, 
where  he  proceeds  without  loss  of  time  to  clean  his  slate  and 
go  to  work.  Being  anxious  to  perform  the  part  assigned 
him  in  the  afternoon's  program,  he  labors  with  such  assidu- 
ity both  before  and  after  the  reading  lesson,  that  he  gains 
fully  five  minutes  on  the  rest  of  his  class ;  and  leaving  his 

*  The  two  divisions  of  the  third-year  classes,  correspond  to  the  groups  of  the 
previous  grades. 


THE  "  QUltfCY  METHODS'1  ILLUSTRATED. 

slate  on  his  desk  to  be  examined,  he  slips  out  quietly,  and 
runs  home  in  search  of  his  truant  dog. 

Meantime  his  mates  work  on,  till  the  second  division 
have  finished  their  reading,  and  the  books  have  been  col- 
lected. Then  all  the  slates  are  examined,  those  who  have 
just  read,  having  had  their  Busy- Work  period  while  Eddie's 
division  were  reading.  Examination  over,  the  teacher  taps 
her  bell,  and  the  pupils  sitting  nearest  the  door  and  win- 
dows, open  them  wide. 

"Rise!"  is  the  quick  command.  "Heels  together;  toes 
out ;  stand  like  soldiers,  tall  and  straight,  with  hands  at  the 
sides  1  Double  the  fists  hard,  and  put  them  on  the  chest !" 
is  the  next  order,  instantly  obeyed  by  this  miniature  mili- 
tary company,  who  are  standing  now  in  military  position, 
every  body  firm,  erect ;  every  mind  eager,  alert. 

Without  a  pause  the  teacher  begins  to  count,  and  the 
pupils  move,  in  perfect  time  to  the  rhythm  of  her  prompt 
decided  utterance.  First  the  small  right  fists  are  thrust 
vigorously  down  twice,  then  the  left  twice,  afterward 
the  right  and  left  alternately  twice,  and  finally  both  to- 
gether twice.  Next  they  are  thrust  out  at  the  sides  in  a 
like  order,  then  directly  up,  and  last  forward.  In  the  same 
breath,  seemingly,  with  the  concluding  count  comes  the 
mandate, — "Shut  the  windows  and  doors.  Sit !" 

The  littlo  gymnasts  sink  into  their  seats  with  a  swift 
noiseless  uniformity,  that  demonstrates  far  better  than 
words  could,  the  discipline  gained  by  means  of  the  exer- 
cise ;  while  the  heightened  color,  the  sparkling  eyes,  the  ex- 
hilaration of  manner  tell  of  swiftly  flowing  blood  and  in- 
vigorated nervous  force;— of  renewed  life  in  every  part. 

"You  went  through  your  exercises  so  well,  that  I  am 
going  to  let  you  have  a  'Guessing  Game,'  "  announces  the 
gratified  teacher.  "Who  wishes  to  come  forward  ?" 

From  the  forest  of  upraised  hands,  she  selects  that  of  a 
small  maiden,  whose  fine,  broad  brow,  and  clear-cut  features 


A    STUDY  OF   THE  DOG.  493 

are  indicative  of  more  than  ordinary  intellectual  ability. 
The  choice  seems  to  meet  the  approval  of  the  children,  who 
regard  the  girl  with  pleasant  glances,  as  she  passes  down 
the  aisle  to  take  her  stand  in  front  of  the  desks. 

As  she  turns  and  faces  her  eager  mates,  the  hands — 
dropped  when  her  name  was  called— are  all  in  the  air  again. 

"Have  you  decided  what  you  will  be,  Helen  ?"  inquires 
the  teacher. 

"Yes'm,"  responds  the  leader,  assuming  a  grave  and 
business-like  air. 

"I  will  call  upon  the  children,"  notifies  the  teacher. 
"  Andrew." 

"  Are  you  a  mineral  ?"  queries  the  lad. 

"No,"  is  the  instant  decision  of  the  self-possessed  Helen. 

"Carrie,"  selects  the  teacher. 

"Are  you  a  vegetable?"  is  the  inquiry  this  little  girl 
makes. 

"  Yes,"  admits  the  leader. 

There  is  a  quick  brightening  of  the  faces,  at  this  first 
point  gained,  and  every  one  is  anxious  to  ask  a  question. 

"  Margie,"  says  the  teacher,  naming  a  shy,  quiet  damsel, 
who  inquires, — "Do  you  have  bright- colored  flowers  ?" 

"No,"  denies  Helen  unhesitatingly. 

"  Abbie,  what  is  your  question  ?"  demands  the  teacher. 

"  Do  you  live  to  a  great  age  ?"  is  the  prim  response  of  that 
demure  little  miss. 

"Yes,"  confesses  the  leader. 

Another  look  of  intelligence  among  the  questioners,  as  if 
they  had  received  some  important  information. 

"  Mike,"  specifies  the  teacher. 

"Do  you  live  in  a  hot  country  ?". catechises  the  boy,  who 
is  answered  in  the  negative. 

"  Bertie,"  designates  the  teacher,  addressing  a  lively  lad 
who  has  suddenly  given  his  arm  a  thrust  that  has  pulled 
him  up  off  his  seat, 


494      THE   "QUINCY  METHODS"   ILLUSTRATED. 

"D-Do  you  1-live  near  this  house?"  stammers  the  eager 
querist. 

"Yes,"  owns  Helen  with  an  expression  of  face  and  voice 
as  if  she  felt  herself  hard-pushed. 

This  is  instantly  perceived  by  the  keen  guessers,  who  feel 
certain  now  that  they  are  on  the  right  track,  and  are  waving 
their  arms  with  great  energy,  each  wild  to  put  his  inter- 
rogation. 

"John,"  calls  out  the  teacher,  glad  to  see  this  pupil— usu- 
ally lacking  in  the  power  of  attention— so  interested. 

"Are  your  flowers  pink?"  he  catechises. 

"That  has  been  answered,"  rejoins  the  leader  promptly; 
a  rebuff  that  punishes  the  inattentive  child  far  more  than 
a  similar  check  from  the  teacher  would  have  done. 

"Are  your  arms  very  long?"  is  what  the  next  young  in- 
quirer called  upon,  wishes  to  know ;  and  he  is  answered  in 
the  affirmative. 

Clara  has  now  an  opportunity  to  question  and  she  im- 
proves it  by  asking,  "Are  your  leaves  very  shiny?" 

For  the  space  of  a  second,  Helen  hesitates ;  it  seems  to  her 
like  telling  straight  out,  but  there  is  no  escape,  and  she 
grants  it,— "Yes." 

A  half-articulate  murmur  runs  through  the  room  at  this, 
and  the  teacher  finds  it  difficult  to  pick  out  a  steady  arm, 
from  amidst  the  forty  or  more  wildly  waving  members  in 
front  of  her.  "Stevie." 

"Did  you  grow  from  a  small  nut?"  deliberately  quizzes 
the  young  man. 

"Yes,"  acknowledges  the  leader,  looking  as  if  she  wished 
she  didn't. 

Then  the  audience  bursts  the  bonds  of  silence,  and  begins 
to  speak  out;—"  I  know  what  it  is !"  " So  do  I!"  "I  knew 
ever  so  long  ago,"  are  the  half-whispered  exclamations, 
while  Helen  stands  sedately  waiting  her  cue,  with  only  the 
pinker  flush  on  her  cheeks,  and  the  tight  hold  of  the  small 


A    STUDY  OF   THE  DOG.  495 

hands  clasped  behind  her  back,  betraying  any  lack  of  per- 
fect composure. 

"  Who  has  another  question  to  ask?"  demands  the  teacher. 

Every  hand  drops. 

"Clemmie  may  tell  what  she  thinks  Helen  is, "permits  the 
teacher. 

"  An  oak  tree,"  guesses  the  girl  addressed,  looking  toward 
the  leader,  who  answers  directly,  "  That's  right,"  and  starts 
for  her  seat. 

THE  LESSON. 

Just  at  this  moment  the  door  opens,  and  Eddie  appears 
upon  the  threshold  leading  by  the  collar  a  beautiful,  black 
Newfoundland. 

"Come  in,"  directs  the  teacher,  as  the  boy  pauses  as  if 
uncertain  what  to  do ;  "  and  close  the  door,  so  that  the  dog 
can't  getaway." 

Then  seeing  that  Eddie  still  stands  holding  the  string  at- 
tached to  the  collar  of  the  Newfoundland — who  is  pulling 
hard  in  his  attempts  to  investigate  his  new  quarters— she 
adds,  "Let  him  go,  he  won't  do  any  harm;  he  wants  to 
walk  around  and  look  at  us.  Pretty  soon  we  will  look  at 
him,  and  write  down  what  we  see.  He  is  a  beauty,"  she 
continues,  as  the  friendly  animal  now  set  free,  saunters  leis- 
urely up  the  side  aisle,  wagging  his  long  bushy  tail  in  token 
of  appreciation  of  the  caressing  rubs,  and  pats  bestowed 
upon  him  by  the  admiring  children,  as  he  passes. 

"What  is  his  name,  Eddie?" 

"Jet ;  we  called  him  that  because  he  hasn't  a  white  hair  on 
him,"  responds  his  gratified  master. 

"I  wonder  if  he  will  object  to  being  handled  ?"  soliloquizes 
the  teacher.  ' '  Jet,  come  here. " 

The  intelligent  creature  comes  at  her  call.  Stooping  down 
she  pats  him  gently  011  the  head  with  one  hand,  while  with 


THE    "  QUINCY  METHODS"   ILLUSTRATED. 

the  other  she  lifts  the  black  overhanging  lips,  and  tries  to 
force  her  fingers  into  the  side  of  his  half-open  mouth.*  He 
merely  rolls  his  great  brown  eyes  up  at  her  face,  as  if  inquir- 
ing the  cause  of  such  an  unusual  proceeding,  and  then  gives 
his  head  a  shake  that  takes  it  out  of  her  hands. 

"He  won't  bite  Miss  E.,  you  needn't  be  afraid;  that's 
just  because  he  don't  know  you,"  explains  Eddie  in  his 
earnest  fashion.  ' '  See  here !" 

Catching  the  dog  by  the  jaws,  and  pulling  them  wide 
apart,  he  lays  one  hand  within,  between  the  rows  of  snow- 
white,  glittering  teeth. 

'  *  He  certainly  is  good-natured, "  agrees  the  teacher.  ' '  Now 
you  may  take  your  seat,  and  let  us  see  what  Jet  will  do." 
Then  turning  to  the  lines  of  silent,  watching  children,  upon 
whom  nothing  of  all  this  has  been  lost,  she  dictates:  "  Take 
out  your  lead-pencils.  Here  is  your  paper, "  placing  as  she 
speaks,  a>  package  of  brown,  double-lined,  manilla  paper, 
upon  the  front  desks  of  each  row,  to  be  distributed  by  the 
pupils  occupying  them. 

While  this  is  being  done,  the  teacher  continues;  "Now 
write  me  a  description  of  Eddie's  dog ;  you  may  go  and  look 
at  him  whenever  it  is  necessary,  but  handle  him  gently,  so 
that  he  won't  get  uneasy.  Move  about  quietly  and  quickly, 
and  ask  no  questions  of  anybody.  If  any  of  you  do  not 
know  how  to  spell  a  word,  you  may  raise  your  hands  and 
I  will  come  to  you.  I  will  give  you  until  half-past  three  to 
write ;  at  that  time  you  must  have  your  names  placed  at  the 
end  of  what  you  have  written.  Go  to  work !" 

As  if  moved  by  one  impulse,  the  forty-three  little  folks 
pick  up  their  pencils  and  commence.  Presently,  one  takes 
a  foot-rule  from  his  desk,  and  stepping  softly  across  the 
room  to  the  corner  where  Jet  has  by  this  time  ensconced 

*  This  action  of  the  teacher  has  two  ends  In  view.  First,  to  ascertain  whether 
it  Is  entirely  safe  to  allow  the  pupils  to  handle  tlu-  Newfoundland;  and  second, 
to  inspire  the  timid  children— who  are  afraid  of  dogs— with  courage. 


A    STUDY  OF   THE  DOG.  497 

himself,  the  boy  sets  about  measuring  the  animal,— his 
head,  his  neck,  his  back,  his  tail,  and  one  of  his  legs. 

Before  the  lad's  measurements  are  completed,  more  of 
these  small  students  of  zoology  have  begun  their  investi- 
gations upon  the  patient  Newfoundland,  who — not  under- 
standing the  purpose  of  the  proceedings — does  not  enjoy 
having  one  boy  prying  open  his  mouth,  to  count  his  teeth; 
while  another  is  pulling  out  his  ears,  to  see  how  long  they 
are ;  a  third  straightening  his  tail  beside  a  rule ;  and  two  or 
three  more  measuring  his  legs;  and  then — as  if  this  was 
not  enough— to  have  a  hand  and  arm  stretched  over  the 
heads  of  the  measurers,  examining  into  the  length  and  qual- 
ity of  his  hair. 

Accordingly  he  rises,  and  giving  himself  a  protesting 
shake,  walks  off  to  another  part  of  the  room  and  lies  down ; 
but  he  cannot  get  rid  of  the  curious  children.  They  follow, 
measure,  and  study,  wherever  he  goes.  At  length  he  suc- 
cumbs to  circumstances,  and  lies  stretched  out  upon  the 
floor,  submitting  passively  to  all  the  handling  of  the  young 
naturalists;  making  no  indication,  except  by  his  lolling 
tongue,  that  he  is  not  as  happy  over  the  performance  as 
they  are. 

During  all  this  time  the  room  has  been  still,  and  the  pu- 
pils quite  silent,  each  pursuing  the  even  tenor  of  his  way  as 
earnestly,  and  seriously,  as  if  entirely  by  himself.  If  a  child 
coming  to  study  Jet,  finds  the  dog  surrounded,  he  waits  pa- 
tiently for  his  turn,  or  goes  back  to  his  seat  and  writes  until 
he  sees  an  opportunity  to  find  out  what  he  wishes  to 
know. 

As  for  the  teacher,  she  is  here,  there,  and  everywhere  at 
once,  erasing  mistakes,  either  of  spelling  or  grammar,  and 
putting  upon  the  board  words  that  the  pupils  do  not  know 
how  to  write;  cautioning,—"  Don't  forget  how  to  begin  and 
end  a  sentence;"  or,  "Be  sure  not  to  make  your  sentences 
too  long,  or  too  short;"  commending,— "I've  found  some 


THE  "QUINCY  METHODS"   ILLUSTRATED. 

good  sentences  carefully  written;"  or  stimulating, — "  I  want 
your  best  work  to-day,  children. " 

When  the  hands  of  the  clock  indicate  twenty-five  minutes 
past  three,  she  admonishes;  "  Only  five  minutes  more;"  and 
the  little  authors  bend  to  their  work  with  still  greater  dili- 
gence, till  the  order  comes, — "Pencils  down!  Collect  the 
papers!"  At  this,  those  sitting  last  in  each  row,  pass  rapidly 
up  the  aisles,  picking  the  papers  from  the  desks  as  they  go. 

"The  first  division,"  directs  the  teacher,  without  allowing 
the  pupils  an  instant's  pause,  in  which  to  get  out  of  working 
trim,  "may  go  to  the  blackboard  and  make  a  design  within 
a  foot  square."  The  second  division  waiting  alert,  and  ex- 
pectant, to  be  told  what  they  are  to  do,  hear  this:  "  If  I  have 
ten  cents  to  spend  for  apples,  how  many  can  I  buy  at  the 
rate  of  three  for  two  cents?" 

The  question  is  scarcely  uttered,  before  the  wide-awake 
young  folks  begin  to  fling  up  their  hands,  in  token  of  readi- 
ness to  answer.  A  pupil  is  called  upon,  he  solves  the  prob- 
lem; then  another  is  given,  and  thus  in  brisk,  oral  Number 
work,  passes  the  next  twenty  minutes. 

Meanwhile  Jet,  free  at  last  from  curious  hands  and  prying 
eyes,  sleeps  the  sleep  of  the  long-suffering,  dreaming  not 
that  forty  or  more  beginners  in  the  great  art  of  delineation, 
have  been  taking  pencil  photographs  of  him,  or  that  three 
of  these  would  be  printed  for  the  benefit  of  an  inquiring 
Public.  Here  they  are ! 

I. 

DESCRIPTION  OF  A  DOG. 

This  Is  a  block  Newfoundland  dog.  He  has  four  legs,  a  tail,  two  long  ears, 
and  two  brown  eyes.  His  name  is  Jet.  They  say  he  will  not  bite.  He  has  a 
collar  around  his  neck.  On  it  is  printed  "  A.  D.  Henderson,  West  Quincy,  Mass. 
No.  369."  His  hair  is  curly.  When  he  lies  down  his  two  backbones  stick  up. 
He  has  four  cushions  on  each  paw.  His  back  is  just  two  feet,  and  his  tail  is  one 
foot  and  four  inches  long.  His  face  is  pointed.  The  dog  has  a  great  many 
r-oth  in  his  mouth.  He  has  a  very  long  tongue. 


A    STUDY  OF   THE  DOG.  499 

II. 

A  DESCRIPTION  OF  A  DOG. 

The  color  of  the  dog  is  black.  He  is  a  Newfoundland  dog.  He  has  long  ears. 
The  hair  of  the  dog  is  curly.  He  has  a  collar  on  his  neck.  His  eyes  are  large 
and  round.  His  collar  is  made  of  leather  and  brass.  The  name  on  the  collar  is 
"  A  D.  Henderson,  West  Quincy.  No.  369."  The  dog's  name  is  Jet.  The  color 
of  his  eyes  is  a  dark  brown.  His  tongue  is  out  of  his  mouth.  The  dog  will  not 
bite.  The  height  of  the  dog  is  one  foot  and  four  inches.  His  back  is  two  feet 
and  four  inches.  His  legs  and  tail  are  one  foot  and  four  inches  long.  He  is 
lying  on  the  floor.  He  has  four  black  legs,  and  he  walks  on  his  toes.  The  dog 
is  five  months  old.  I  think  he  is  a  very  large  dog  for  his  age.  I  think  that  he 
is  a  very  quiet  dog.  He  has  a  string  around  his  neck. 


III. 

THE  DOG. 

The  color  of  this  dog  is  black.  His  name  is  Jet.  His  hair  is  just  as  black  as 
it  can  be.  It  curls  very  nicely.  He  has  five  sharp  claws  on  each  foot.  He  has 
long  ears.  He  is  a  young  Newfoundland  dog.  He  would  not  bite  anyone  if 
they  did  not  make  him  angry.  His  legs  are  about  a  foot  long.  He  is  very  fat 
indeed.  He  has  a  collar  on.  "  A.  D.  Henderson,  West  Quincy,  Mass.  No.  369  " 
is  printed  on  it.  He  is  two  feet  and  four  inches  long.  His  eyes  are  brown. 
His  tail  is  one  foot  and  four  inches  long.  His  nose  is  eight  inches  long.  He  is 
five  months  old.  The  shape  of  his  nose  is  oblong.  The  shape  of  his  body  is 
cylindrical.  His  neck  is  seven  inches  long.  I  think  he  is  very  pretty. 


Notes  and  Comments. 

One  lesson  every  child  of  man  sooner  or  later  must  learn, 
— his  relations  to  his  fellows.  Happy  those  children  who 
begin  to  learn  this  lesson  young,  since  the  later  in  life  they 
set  about  it,  the  more  difficult  it  becomes.  As  the  family 
affords  little  or  no  opportunity  for  discipline  in  this  direc- 
tion, it  is  during  the  first  years  of  school  life,  that  the  small 
women  and  men  commence  their  studies  in  social  science. 
Here  for  the  first  time,  they  are  thrown  habitually  into  the 
society  of  their  equals ;  and  here  most  certainly  should  begin 
that  teaching  which  will  lead  the  little  ones  at  all  tunes  arid 


500      THE    "QUINCY  METHODS"   ILLUSTRATED. 

in  all  ways  to  respect  scrupulously,  the  rights  of  others. 
Yet  for  this— the  underlying  principle  of  morality—there 
was  found  no  place  in  the  old-time  scheme  of  school- work. 
Possibly  this  was  because  there  could  be,  under  the  rigid 
restraints  of  machine  teaching,  no  chance  for  its  exercise, 
except  upon  the  playground ;  and  even  there,  might  was  apt 
to  make  right,  and  the  weakest  generally  went  to  the  wall. 
It  must  be  admitted,  that  to  educate  children  to  this, 
which  is  in  reality  but  a  practical  application  of  the  "love 
your  neighbor"  idea,  is  not  an  easy  thing  to  do,  because  it 
is  essentially  a  matter  of  growth,  and  slow  growth  at  that. 
The  wise  teacher,  whether  she  is  a  believer  in  "Free-will" 
or  the  contrary,  will  allow  her  pupils  to  exercise  theirs,  with 
as  little  constraint  as  is  consistent  with  the  best  good  of  all. 
That  is,  she  will  not  only  teach  them  to  have,  and  show  con- 
sideration for  others,  but  by  frequent  exercises,  she  will 
train  them  (as  did  the  teacher  in  this  last  lesson),  in  that 
individual  self-restraint,  that  makes  possible  greater  free- 
dom for  all. 


CHAPTER  TIL 

A  LESSON  IN  BOTANY.— THE  BLACKBERRY. 

THE  illustrations  of  the  work  in  this  branch,  have  been 
chosen  for  the  purpose  of  presenting  a  general  view  of  the 
plan  pursued.  The  introductory  lesson— one  of  the  course 
preceding  Beading— led  the  little  ones  to  make  their  first 
conscious  division  of  objects,  into  things  that  grow,  and 
things  that  do  not  grow  (organized  and  unorganized  bodies) ; 
and  brought  the  children  to  a  recognition  of  life,  in  vegeta- 
tion, as  manifested  by  propagation  from  the  seed.  There  was 
also  gained  an  expression  regarding  the  conditions  necessary 
to  vegetable  growth,— earth,  air,  water,  and  sunshine.  The 
photographs  of  second-year  teaching  in  this  study,  show 
how  the  young  students,  having  supplied  the  conditions  of 
growth  already  referred  to,  observed  the  process  of  growth, 
beginning  with  the  seed,  and  studied  the  parts  of  the  plant 
as  they  appeared.  A  term  of  such  teaching  prepared  the 
pupils  for  lessons  like  the  one  here  given,  which  is  in  fact, 
an  exercise  in  elementary  analysis. 

The  children  are  now  ready  for  the  study  of  systematic 
Botany,  and,  as  the  scheme  of  work  and  the  mode  of  carry- 
ing it  on  through  three  grades  have  been  so  fully  delineated, 
no  more  space  will  be  devoted  to  this  branch.  Hence  the 
lesson  that  follows,  which  is  really  a  review,  will  be  the  last 
described. 


502      TB.E   "QUnVCV  METHODS"  ILLUSTRATED. 


A  LESSON  UPON  THE  BLACKBERRY. 

PURPOSE  OF  THE  LESSON.— To  prepare  the  pupils  for  plant 
analysis. 

PREPARATION  MADE  BY  THE  TEACHER.— Direct.  Arranging 
the  facts  known  by  the  children,  in  logical  order,  and  pro- 
viding the  specimens. 

Indirect.  All  her  knowledge  of  Botany. 

PREPARATION  MADE  BY  THE  PUPILS.— (1)  Everything  which 
they  had  learned  ahout  plants. 

(2)  Whatever  command  of  botanical  language  they  had 
gained. 

PLAN  OF  THE  LESSON. —First.  Have  the  class  sing  "  Little 
White  Lily"  by  way  of  preface. 

Second.  Tell  the  children  about  rny  plant  at  home,  and 
ask  them  to  recall  some  house-plants  that  they  have  seen, 
for  the  purpose  of  leading  their  thoughts  toward  the  subject 
of  the  lesson. 

Third.  Show  the  blackberry,  and  draw  from  the  pupils 
the  names  of  the  different  parts  of  the  plant,  placing  them — 
properly  arranged— upon  the  blackboard ;  then  manage  to 
have  the  children  repeat  the  names  as  they  are  written. 

Fourth.  Begin  with  the  root,  and  confine  the  conversa- 
tion to  each  part  in  turn.  When  the  facts  have  been  gained, 
call  upon  a  girl  or  boy  to  sum  these  up,  and  give  them  in  a 
single  statement ;  afterward  write  them  in  their  order  in  my 
analysis. 

Fifth.  Go  all  over  the  work  once  more,  for  the  sake  of 
impressing  the  arrangement  upon  the  minds  of  the  pupils. 
To  prevent  them  from  losing  interest,  appoint  one  of  their 
number  as  teacher. 

Sixth.  Have  the  class  write  about  the  blackberry  for  the 
next  twpntv  minutes. 


A   LESSON  ON   THE  BLACKBERRY.  503 


THE  LESSON. 

The  windows  and  doors  of  the  commodious,  well-kept 
schoolhouse  are  all  open,  and  from  one  of  the  rooms  floats 
the  sound  of  children's  voices,  singing  sweet  and  low.  Inside 
the  softly-lighted  apartment,  the  air  is  cool  and  filled  with 
fragrance  from  flowers  that  lie  heaped  upon  the  teacher's 
table,  and  withering  on  the  pupils'  desks.  It  is  not  quite 
two  o'clock,  yet  the  seats  are  full,  and  their  occupants  al- 
ready at  work  cleaning  their  slates,  while  they  carol — 

"  Little  White  Lily  smells  very  sweet ; 
On  her  head  sunshine,  rain  at  her  feet. 
Thanks  to  the  sunshine  !  thanks  to  the  rain! 
LittJe  White  Lily  is  happy  again." 

As  the  song  ends,  the  slates  are  laid  down  and  the  hands 
folded,  while  the  small  folks  sit  still  and  silent,  waiting  for 
tho  gong.  At  the  stroke,  the  teacher — who  has  been  busy 
at  her  table,  stripping  a  long  vine  of  its  leaves  and  flowers — 
steps  forward  and  begins  to  speak. 

"Children,  I  have  something  at  home  that  lived  in  the 
house  with  me  all  winter.  I  let  it  sit  in  the  window  in  the 
sunshine,  and  gave  it  a  drink  of  water  every  day,  and  took 
good  care  of  it.  But  for  all  that,  when  spring  came,  this 
that  I  am  telling  you  about,  wanted  to  get  out  of  doors. 
So  I  had  to  let  it  go,  and  it  is  in  my  garden  now.  What  do 
you  suppose  it  was?" 

' '  A  bird !"  "A  plant !"  "  A  cat  I"  "  A  rose-bush !"  "A 
plant!"  come  the  scattered  answers,  merging  quickly  as  the 
class  catch  the  idea,  into  the  full  chorus  of— "  A  plant!" 

"Yes  that  was  it,"  acquiesces  the  teacher,  smiling  at  her 
success  in  having  thrown  them  off  the  track  at  first.  ' '  Now 
shut  your  eyes,  and  think  of  some  plant  that  you  have  seen 
growing  in  the  house." 

As  if  moved  by  the  same  set  of  muscles,  the  arms  go  up 


5  04     THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TKA  TED 

as  the  eyelids  go  down,  and  the  teacher  naming  their 
owners  as  fast  as  she  can  speak,  gets  the  following  list. 

4 '  Sweet  -  scented  geranium  1"  * '  Heliotrope  I"  "  Wax 
plant  1"  Oxalis!"  " Monthly  rose!"  " German  Ivy!" 
" Fuchsia  1"  " Begonia P  "Musk  plant!"  "Martha  Wash- 
ington geranium!"  "Cactus!"  "Ice  plant!"  "Jerusalem 
cherry!"  "Callalily!" 

''That  will  do!  Open  your  eyes  and  see  what  I  have 
here,"  holding  up  along,  blossoming,  leafy  spray. 

"  A  blackberry  vine  1"  decide  the  young  botanists  unani- 
mously. 

Turning  to  the  board,  the  teacher  places  upon  it,  in  fine, 
bold  chirography,— The  Blackberry,'  and  says  as  she  puts 
her  period,  "That  is  what  we  are  going  to  talk  about. 
What  did  you  say  it  was?" 

"A  plant!'*  is  the  concert  recitation. 

This  the  teacher  writes  also,  just  under  the  other  words, 

"  Look  at  this,"  lifting  the  vine  again  from  the  table,  and 
coming  close  to  the  first  row  of  desks;  "and  tell  me  all  that 
you  can  about  it." 

The  hands  are  fluttering  at  once,  and  designating  her 
eager  pupils  by  name>  she  receives  the  following  answers 
in  swift  succession. 

"  It  has  little  branches  1" 

"The  stem  is  long  I'1 

"  It  has  green  leaves  1" 

"There  are  little  strings  hanging  1" 

"It  has  prickly  thorns!" 

"There  is  bark  on  it!" 

" It  has  white  flowers!" 

"It  has  a  body!" 

" The  bark  is  brown!" 

"  The  leaves  are  all  withered!" 

"  Yes,"  agrees  the  teacher;  "  I  dug  it  out  of  the  ground 
yesterday." 


A   LESSON  OJV   THE  BLACKBERRY.  505 

"The  root  is  crooked,"  is  the  next  item  of  information. 

"Some  of  the  flowers  have  fallen  off,  and  little  green 
blackberries  have  started,"  informs  a  keen-eyed  observer, 
sitting  in  front. 

"It  has  a  root,"  declares  a  patient  youngster  who  has  had 
his  hand  up  all  of  the  time. 

"  That's  what  T  have  been  waiting  to  hear,"  remarks  the 
teacher,  placing  the  word  root  on  the  blackboard  below 
plant.  "What  is  this?"  she  questions,  touching  the  vine. 

"  It  is  a  limb,"  calls  out  one. 

"  A  trunk,"  says  another. 

"A  bough,"  thinks  a  third. 

"You  told  me  the  other  day  that  this," — catching  up  a 
plant  lying  upon  her  table,  and  indicating  a  certain  part; 
"  was  the"— 

"Stem,"  prompt  the  pupils  as  she  hesitates  in  her  state- 
ment. 

"Then  we  will  call  this"— pointing  again  to  the  vine. 

"The  stem,"  concede  the  class;  and  that  word  is  also 
written  underneath  root. 

"Can  you  tell  me  anything  else  to  put  down,  that  the 
blackberry  plant  has?" 

"  It  has  blossoms,"  declares  a  small  boy. 

"  It  has  withered  leaves,"  states  the  next  one  called  upon; 
and  leaves  is  speedily  placed  in  the  column  upon  the  board. 

"Has  this  plant  any  other  part  besides"— pronouncing 
rapidly  the  written  words,  "a  root,  a  stem,  and  leaves." 

"It  has  bark,"  reiterates  the  boy  who  said  it  before. 

"You  haven't  put  down  the  blossoms,"  is  a  little  maid's 
gentle  reminder. 

Of  this  the  teacher  takes  no  heed,  but  speaks  to  another 
girl,  whose  hand  dropped  as  the  last  answer  was  given ; 
"What  had  you  to  say,  Nannie?" 

"I  was  going  to  give  the  flowers,  but  Nellie  named 
those." 


5O6      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"  Did  she?"  interrogates  the  teacher  doubtfully,  as  she 
writes  the  word  flowers  last  in  her  list  of  parts. 

Nannie  puzzles  a  moment  over  the  matter,  and  so  do 
some  of  the  rest  apparently,  but  by  the  time  the  writing  is 
done,  they  look  as  if  they  had  solved  the  mystery ;  at  all 
events,  no  further  mention  of  blossoms  is  made  during  the 
lesson. 

"  Martin,  come  out  here,"  is  the  next  requisition  made  by 
the  teacher.  Handing  the  long  spray  to  the  lad  she  in- 
quires, "What  did  I  give  to  Martin?'1 

"  A  blackberry  vine!"  is  the  class  chorus 

"What  is  it?" 

"A  plant!"  comes  the  concerted  reply, 

"Hold  up  the  plant,  my  boy.  Now  children,  you  may 
name  the  parts  we  found,  and  if  Martin  doesn't  put  his  fin- 
ger on  each  in  turn,  I  shah1  ask  some  one  else  to  try;  be- 
gin!" 

"  It  has  a  root,"  predicate  the  class  promptly;  though  not 
before  the  boy  in  front,  has  nimbly  shifted  the  spray  to  his 
left  hand  and  caught  the  part  named,  in  his  right. 

"And  a  stem!"  continue  the  chorus,  following,  rather 
than  leading  the  boy  with  the  plant,  seeing  which,  the  class 
conclude  quickly,— "Leaves  and  flowers!" 

"Very  well,  Martin;  you  may  take  your  seat,  and  we 
will  all  talk  about  this,  which  is  what?" 

"The  root!"  repeat  the  alert  lookers-on. 

"Tell  anything  you  can  see,  or  ever  learned  about  it?" 
adds  the  teacher. 

"  It  is  crooked,"  is  the  first  speaker's  point. 

"There  is  skin  on  it,"  thinks  a  second. 

"  I  can  see  little  strings  hanging  down,"  affirms  another. 

"Once  you  told  us  those  were  rootlets,"  reports  a  small 
juvenile  defiantly,  eying  the  teacher  with  his  head  on  one 
side,  as  if  he  suspected  she  might  wish  to  deny  the  state- 
ment. 


A   LESSON   ON    THE  BLACKBERRY.  507 

"Yes,  and  so  they  are,"  is  her  complacent  response,  as 
she  smilingly  picks  up  her  crayon,  and  proceeds  to  put  the 
word  roots  a  little  way  from  the  other  column,  on  the 
board.  This  done,  she  turns  toward  the  silent  class  who 
are  trying  in  vain  to  think  of  something  more  to  say  about 
the  root,  and  remarks  provokingly— "I  thought  you  would 
tell  me  what  I  wish  to  know  the  very  first  thing."  Still  not 
a  hand  is  raised.  "I  haven't  heard  a  word  about  how  it 
grows." 

Like  a  flash  the  arms  fly  up,  and  every  child  in  the  room 
is  desirous  to  answer. 

''Well,  Nellie?" 

"  It  grows  in  the  ground." 

"Yes.    Dennie?" 

' *  It  grows  down  into  the  earth. " 

' '  I  think  it  does.  Who  is  ready  now,  to  tell  me  in  one 
sentence,  all  that  we  have  heard  about  the  root?  Connie." 

"The  root  has  rootlets,  and  it  is  covered  with  brown 
skin,  and  is  crooked,  and  it  grows  down  into  the  ground. " 

"  Who  can  leave  out  an  and  or  two?    Frank." 

' '  The  root  is  crooked,  is  covered  with  brown  skin,  has 
rootlets,  and  grows  down  into  the  ground." 

"That  is  better,"  commends  the  teacher,  writing  rapidly 
under  the  word  roots,  the  phrase,—  grows  down  into  the 
ground;  placing  below  this  the  word  rootlets,  and  under- 
neath that  a  line,  while  all  the  pupils  watch. 

"  We  will  look  now,  at  nothing  but  the  stem,"  she  speci- 
fies, as  she  comes  forward  with  the  vine  again,  to  give  the 
small  students  a  better  chance. 

"  It  makes  a  curved  line." 

"It  is  thin." 

"It  is  woody." 

"  It  is  cylindrical." 

"It  is  long." 

"It  has  thorns." 


5O8      THE   "  QUIttCY  METHODS"  ILLUSTRATED. 

"The  thorns  are  prickly." 

"It  is  smaller  at  the  top  than  at  the  bottom." 

"There  is  brown  bark  on  it." 

"  The  thorns  grow  on  the  bark." 

All  these  answers  have  been  given  as  rapidly  as  she  could 
call  for  them ;  still  she  is  not  satisfied,  but  utters  her  gentle 
persistent— "Well?"  with  as  much  significance  after  the 
last  speaker,  as  if  they  had  but  just  begun. 

It  puzzles  the  pupils,  who  look  first  at  the  teacher,  and 
then  at  each  other,  when  suddenly,  a  small  but  ardent  youth 
in  the  background  exclaims, — * '  Oh,  I  know, — how  it  grows  1" 

"Very  well,  Sammie,"  accepts  the  teacher  smiling  at  his 
excitement;  "how  does  it?" 

"  Up  out  of  the  ground,"  is  his  brisk  response. 

"Yes,  but  there  is  one  point  more;  what  are  these?" 
touching  them  as  she  speaks. 

"Leaves  and  flowers!"  is  the  quick  chorus. 

"  Now  who  has  something  to  say  about  the  stem?  Edith." 

"  It  has  leaves  and  flowers  growing  out  of  it." 

"We  will  say  that  it  bears  leaves  and  flowers;"  teaches 
the  teacher,  continuing  instantly,  "  let  me  have  all  that  has 
been  told  me  about  the  stem,  put  together.  Ellen." 

"  The  stem  bears  leaves  and  flowers,  grows  up  out  of  the 
ground,  is  smaller  at  the  top  than  at  the  bottom,  has  thorns, 
is  cylindrical,  and  makes  a  curved  line,"  recites  the  attentive 
Ellen,  endeavoring  to  put  in  all  that  has  been  said,  and 
leave  out  all  the  ands. 

"That  is  pretty  good,"  comments  the  teacher.  "What 
is  it,  Nina?" 

"She  didn't  say  that  the  stem  was  long  and  woody,  and 
had  brown  bark  on  it." 

"Well  I  am  glad  that  you  remembered  it,  and  I'll  put 
that  into  what  I  say  on  the  board,"  writing  one  particular 
under  another.  The  stem, — grows  up  out  of  the  ground, — 
long,— brown,  — troW//.  hrfi  r.s  l,>n /  v.s,  —thorns,  —flowers. 


A    LESSON  ON   THE   BLACKBERRY.  509 

"We  will  take  these  next,"  directs  the  teacher,  as  sho 
draws  a  line  below  the  word  flowers,  and  places  leaves  by 
itself,  as  the  heading  to  another  column.  Then  she  picks 
up  five  piles  of  leaves  from  her  table,  and  places  one  on 
each  of  the  front  row  of  desks,  dictating  as  she  does  so— 
"  Give  a  leaf  to  each  child." 

In  ten  seconds  the  distribution  is  done,  and  every  young 
botanist  has  his  eyes  on  his  leaf,  and  a  hand  in  the  air, 
ready  to  tell  what  he  has  discovered ;  and  this  is  what  they 
say. 

"  The  leaves  are  green." 

"  The  edge  has  saw-teeth." 

"  The  leaves  have  two  parts,  the  petiole  and  the  blade." 

"  They  are  rough." 

"  Little  hairs  grow  out  of  them." 

"They  have  veins." 

"There  is  a  midvein  and  a  great  many  veinlets." 

"  Tell  all  you  can  about  the  leaf,  Freddie,"  designates  the 
teacher. 

The  child  springs  to  his  feet,  looks  at  the  one  he  holds, 
and  states,  "The  leaf  is  green  and  hairy.  It  has  a  blade 
and  a  petiole.  The  edge  is  cut  in  like  saw-teeth.  In  the 
middle  is  a  large  vein  called  the  midvein,  and  there  are 
veinlets  on  each  side  of  it." 

"That's  good;  I  will  place  it  here,"  announces  the  teach- 
er, writing  the  words  green,— hairy, —saw-toothed,— petiole, 
— blade,  —  midvein,  —  veinlets,  and  drawing  a  line  below 
them  all. 

"Here  are  your  flowers,"  she  says,  in  a  moment,  bringing 
them  from  her  table;  and  as  before,  each  little  student 
studies  his  specimen  for  facts  which  he  is  immediately 
anxious  to  publish. 

Being  allowed  opportunity  to  do  so,  the  speakers  declare 
that — "The  flower  has  four  parts, —sepals,  petals,  stamens, 
and  pistils." 


5  I O      THE   ' '  Q UINC  Y  ME  THODS  "   ILL  USTRA  TED. 

This  is  immediately  placed  upon  the  board,  when  the 
class  continue. 

"  It  has  five  sepals,  five  petals,  and  a  great  many  stam- 
ens." 

"  The  pistils  are  in  the  middle." 

"  Wait!"  proposes  the  teacher  at  this  point;  "let  us  take 
one  part  at  a  time;  which  first,  children?" 

"The  calyx,"  is  the  quick  answer. 

"  What  is  the  calyx?"  interrogates  the  teacher,  reviewing 
one  of  the  two  things  taught  during  their  last  lesson. 

"  These  five  sepals !"  chorus  the  pupils. 

"  Very  well;  pull  them  off." 

A  few  of  the  botanists  not  working  carefully,  pull  their 
flowers  apart,  and  hold  up  the  fragments  with  comical 
looks  of  dismay. 

"Help  yourselves  to  fresh  flowers,"  directs  the  teacher; 
"  and  be  more  gentle  another  time.  Now  what  can  you  tell 
me  to  write  here?"  placing  the  word  sepals  opposite  /lowers. 

11  The  sepals  are  green,"  informs  the  first  child  called  upon. 

"Yes,"  agrees  the  teacher,  writing  it  under  her  heading. 

"They  are  like  the  sepals  on  the  rose,"  asserts  a  bright- 
eyed  little  lady. 

"  It  doesn't  seem  to  me,"  objects  a  thoughtful  looking  lad, 
"  that  they  are  so  sharp." 

"Suppose  you  look  the  next  time  you  have  a  chance,  and 
let  us  know,"  suggests  the  teacher.  "  What  more  about 
the  sepals?" 

"They  are  on  the  top  of  the  stem,"  remarks  a  child  in 
most  moderate  fashion. 

"  They  are  under  the  flower,"  rattles  off  the  next  speaker, 
with  a  mischievous,  backward  glance,  at  jbhe  languid  boy. 

"I  think,"  protests  a  third,  "that  they  are  under  the 
petals." 

"And  /  shall  say — with  my  crayon,"— interposes  the 
teacher,  "that  they  arc,"— writing,  on  the  outside  of  the 


A    LESSOiV  ON    THE   BLACKBERRY.  511 

flower;  "and  they  form  what?"  she  queries,  waiting  till  the 
class  call  out,  "  Calyx !"  which  she  also  places  on  the  board, 
beneath  the  last  phrase.  "Tell  me  everything  about  the 
sepals,  Willard." 

"The  sepals  are  green;  they  grow  on  the  outside  of  the 
flower,  and  are  called  the  calyx,"  repeats  the  boy  readily. 

"Next  we  look  at— Johnnie?" 

"The  petals,"  promptly  infers  Johnnie  with  a  glance  at 
his  specimen. 

"  Well?"  urges  the  teacher. 

"  They  are  white,"  reports  Bertie. 

Silently  the  word  petals  is  written,  and  below  it,  white. 

"Anything  more?"  inquires  the  teacher,  looking  at  the 
pupils  when  this  is  done.  "  Katie?" 

"There  are  five  of  them." 

"Flossie." 

"  They  are  over  the  sepals." 

"Yes.  What  other  name  did  you  give  me  a  moment  ago 
for  the  sepals?" 

Full  chorus :  ' '  The  calyx  1" 

"Does  any  one  remember  what  all  the  petals  taken  to- 
gether are  called?" 

For  a  second  there  is  silence,  then  some  one  recalls, 
"You  said  it  meant  a  crown." 

For  answer,  the  teacher  writes  the  word  corolla  in  its 
place  in  her  analysis.  Several  of  the  children  speak  it  the 
moment  it  appears,  but  not  all. 

"Pronounce,"  bids  the  teacher,  and  the  full  chorus 
comes.  "Who  wishes  to  tell  me  all  about  the  petals? 
Huldah." 

"They  make  the  corolla;  they  are  white,  and— and— 
there  are  five  of  them, "  stammers  the  girl,  who  was  caught 
a  little  off  her  guard,  her  attention  having  been  distracted 
temporarily,  by  a  bead  bracelet  which  she  was  busy  trans- 
ferring from  one  arm  to  the  other. 


5  1 2       THE    ' '  Q  UINC  Y  ME  THODS"   ILL  USTRA  7"ED. 

"I  am  afraid  that  troubles  you,"  remarks  the  teacher 
sympathetically;  "let  me  take  care  of  it  until  you  are 
ready  to  go  home.  It  is  too  much  to  have  the  charge  of 
such  things,  and  try  to  study  your  flower  too." 

Little  Miss  Vanity  is  slightly  suspicious,  that  the  teacher 
has  other  reasons  for  taking  away  the  plaything,  but  her 
face  is  so  smiling,  and  her  tones  are  so  gentle,  that  Huldah 
is  quite  certain  of  only  two  things.  First,  that  she  finds 
herself  impelled  to  lay  the  bracelet  into  the  outstretched 
hand;  and  second,  that  she  feels  decidedly  uncomfortable 
in  so  doing. 

"Luke,  you  may  tell  Huldah  everything  about  the  petals, 
for  I  am  sure  she  lost  a  part  of  what  we  were  saying." 

"The  petals  are  white,  there  are  five  of  them,  and  they 
are  called  the  corolla,"  recites  the  boy,  looking  full  in  Hul- 
dah's  crimson  face  as  he  talks. 

"  Next  we  will  look  at  the—" 

"Stamens!"  call  out  the  class,  as  the  teacher  pauses  in 
her  statement  for  the  word,  which  she  now  places  upon  the 
board. 

"  Agnes!"  she  selects,  as  the  eager  botanists  flourish  their 
arms  again  hi  the  air,  to  signify  that  they  have  something 
to  communicate. 

"The  stamens  are  next  to  the  corolla." 

"Albert." 

"The  stamens  are  around  the  pistil,  J  think,"  contends 
the  boy,  pointing  to  what  is  left  of  his  flower. 

"You  are  both  right,"  decides  the  teacher;  "and  I  will 
put  it  this  way,"  writing,  inside  the  corolla.  "I  haven't 
heard  about  the  number;  Annie." 

"I  don't  know." 

"  Why  not?" 

"  Because  there  are  so  many." 

"Very  well;  let  us  say  then  that  there  are— "  writing, 
matiy.  "What  is  it,  Tom?"  addressing  suddenly  a  small 


A   LESSON  ON   THE  BLACKBERRY.  513 

but  very  energetic  enthusiast,  who  has  nearly  jerked  his 
arm  out  of  its  socket  during  the  last  three  minutes. 

Tom  comes  to  his  feet  the  instant  he  hears  his  name,  but 
finds  to  his  dismay,  that  in  his  efforts  to  attract  the  teach- 
er's attention,  he  has  completely  forgotten  what  he  had  to 
say,  and  stands  chagrined  and  silent  amid  the  laughter  of 
his  mates,  which  the  amused  teacher  makes  no  effort  to 
restrain. 

"  I've  spoken  to  you  several  times  about  the  way  you 
raise  your  hand,"  she  says,  as  the  mirth  subsides,  and 
Tom's  face  begins  to  look  grieved  as  well  as  embarrassed ; 
"  and  I  hope  this  will  help  you  to  break  yourself  of  the  dis- 
agreeable habit.  If  it  doesn't,  worse  things  may  happen. 
Sit  down.  There  is  one  thing  more,"  she  continues,  resum- 
ing the  lesson,  "that  no  one  has  mentioned  about  the 
stamens.  Horace?" 

'•'They  have  brown  pollen  on  them." 

"That  is  it,"  writing  pollen,  and  brown.  "Tell  me  all 
that  has  been  said  about  the  stamens,  Margie." 

"There  are  a  great  many  of  them;  they  have  brown 
pollen  on  them,  and  they  grow  inside  the  corolla." 

"  What  do  we  come  to  next,  children?" 

^ The  pistil!" 

"  Well?"  urges  the  teacher. 

"  It  is  in  the  middle,"  proclaim  several  voices. 

"The  middle  of  what?"  queries  the  teacher,  of  the  wide- 
awake little  folks. 

' '  The  stamen !"    ' '  The  flower !"  are  the  differing  answers. 

"Alfred,  give  me  a  nice  sentence  to  write  about  the  pistil." 

" The  pistil  is  in  the  middle  of  the  flower,"  is  the  lad's 
statement,  and  the  teacher  places  middle  of  the  flower,  on 
the  board  under  the  word  pistil. 

"Who  would  like  to  be  my  little  teacher  and  come  out 
here  and  see  if  the  class  know  all  that  we  have  gone  over? 
Mary." 


5  1 4      THE  ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

The  girl,  quiet,  and  sensible-looking,  comes  forward  with 
perfect  self-possession,  takes  the  vine  which  the  teacher 
hands  her,  and  with  an  air  of  child-like  earnestness  and 
dignity,  holds  it  up  before  the  class. 

To  them  the  teacher  says;  "  We  have  been  talking  about 
the-" 

"Blackberry!"  they  recite  in  concert. 

"It  is—" 

"  A  plant!"  agree  the  voices. 

"It  has— " 

"A  root!"  declare  the  chorus,  as  Mary  takes  it  in  her 
fingers;  "a  stem,"  they  go  on,  as  she  points  it  out; 
"leaves,"  which  she  indicates;  "and  flowers,"  that  she 
touches  as  they  speak.  "The  root,"  repeat  the  watching 
children,  as  their  tiny  teacher  reverses  the  plant  in  her 
hands,  and  takes  a  fresh  start  in  her  analysis;  "has  root- 
lets," they  assert  when  Mary  catches  at  the  hanging 
"  strings"  as  some  one  called  them  before. 

"  It  grows  down!"  they  continue. 

"Into  the  ground,"  supplements  an  eager  voice,  as  the 
child  suddenly  turns  the  vine  again,  and  holds  it  in  its 
normal  position. 

"That's  well  thought  of,  Jimmie,"  interjects  the  teacher 
cordially;  adding,  "Don't  let  them  leave  anything  out, 
Mary." 

"The  stem,"  goes  on  the  concert  recitation,  as  the  young 
instructor — with  an  air  of  serious  responsibility — takes  it  in 
hand. 

"Grows  up  out  of  the  ground,  and  bears  flowers,  leaves, 
and  thorns,"  specify  the  speakers  as  Mary  points  them  out. 

"  What  is  it,  Ally?"  inquires  the  teacher  as  a  hand  rises. 

"I  don't  think  that  we  should  say  flowers  first." 

"Why  not?" 

"  Because  they  don't  come  first." 

"  That's  a  pretty  good  reason,"  grants  the  teacher  emit- 


A   LESSON  Otf   THE  BLACKBERRY.  5  I  $ 

ingly.  "I  think  I'll  try  you  out  here  for  a  while.  Let  me 
see  if  you  can  do  as  well  as  Mary  has, "  bestowing  upon  her 
retiring  little  pupil-teacher  a  look  of  warm  approval.  "  Be- 
gin again  with  the  stem,  children.  Now,  Ally ;"  whereupon 
the  boy,  taking  the  vine  by  the  stem  with  one  hand,  picks 
off  with  the  other,  first  some  leaves,  then  some  flowers,  and 
last  a  few  thorns,  the  class  following  every  movement  with 
alert  attention,  and  calling  out  their  names  as  each  part  is 
presented. 

Then  there  is  a  hitch  in  the  proceedings.  Ally  stands 
holding  up  the  stem  at  which  he  stares  with  eager  intens- 
ity, but  there  comes  no  responsive  chorus. 

* '  Something  more  about  the  stem,  children, "  suggests  the 
teacher ;  continuing  as  a  hand  flies  up,  '  *  Margie  thinks  she 
knows;  and  Oscar  too;  and  Dennis;  and  Willard;  and 
Abbie;  well,  what  is  it?" 

"  It  is  long !"  "  It  is  woody !"  * '  It  is  brown !"  are  their 
several  answers,  given  ah1  at  once. 

"To  be  sure.    Now,  class,  together." 

"The  stem  is  long,  brown,  and  woody,"  reiterate  the 
roomfull;  to  all  of  which  the  boy-teacher  nods  emphatic 
assent.  Then  he  catches  up  a  leaf  as  they  finish  their 
statement,  and  the  chorus  continues:  "The  leaf  is  green; 
it  has  a  petiole,  and  blade ;  a  mid  vein  and  veinlets ;  and  the 
edge  has  saw-teeth." 

So  far  the  recitation  has  been  glib,  the  pupils  being  evi- 
dently well  acquainted  with  the  leaf ;  but  now  they  pause 
as  Ally  placing  a  leaf  against  his  cheek,  rubs  it  gently  up 
and  down.  The  motion  is  more  peculiar  than  significant, 
but  presently,  a  youngster  who  has  been  idly  fingering  his 
own  leaf  during  the  review,  lays  it  half  unconsciously 
against  his  face,  and  speaks  out  instantly:  "The  leaf  is 
hairy." 

"That's  right,"  pronounces  Ally  patronizingly,  and  turns 
to  get  a  flower,  when  the  teacher  interposes  with — "I'll 


THE   "QU1NCY  METHODS"   ILLUSTRATED. 

finish  the  lesson,  my  boy,  you've  done  well ;"  continuing  as 
she  holds  up  the  white  blossom  of  the  blackberry,  "talk 
fast,  children,  it  is  getting  late." 

"The  flower,"  begins  the  chorus  instantly,  "has  four 
parts!"  naming  as  the  teacher  indicates,  "sepals,  petals, 
stamens,  and  pistils." 

"  The  sepals,"  as  she  holds  up  one,  "are  green;  there  are 
five,"  as  she  touches  each;  and  as  she  gathers  them  in  her 
fingers — "  they  form  the  calyx." 

"The  petals,"  start  off  the  voices  so  rapidly  that  the 
teacher  finds  herself  left  in  the  rear  this  time;  "  are  white; 
there  are  five  of  them  and  they  make  the  corolla.  There 
are  a  great  many  stamens,  and  they  have  brown  pollen  on 
them;  the  pistils, "  finishes  the  chorus  hastily,  "are  in  the 
middle  of  the  flower." 

"O,  Miss  E. !"  exclaims  a  little  girl,  as  the  recitation 
closes;  "  we  didn't  say  the  whole  of  it." 

"  Well?"  responds  the  teacher  encouragingly. 

"We  didn't  tell  where  the  stamens  and  petals  were,  and 
I  don't  remember  that  we  said  anything  about  the  sepals." 

"Those  were  too  important  things  to  be  forgotten,"  ad- 
mits the  teacher;  "and  I  am  glad  that  some  one  noticed 
that  they  were  left  out."  Here  several  have  something  to 
say.  "Well,  Nettie." 

"  I  thought  about  it." 

"  So  did  I,"  speaks  out  another  child. 

"  Mo  too !— I  mean,  I  too,"  corrects  an  impetuous  lassie, 
one  of  the  youngest  in  the  room. 

"Very  well.    Tell  me  now,  all  of  you;  first,—" 

"The  sepals,"  chorus  the  class  as  the  teacher  points  out 
the  parts  mentioned ;  "  are  on  the  outside  of  the  flower;  the 
petals  are  next  to  the  sepals,  and  the  stamens  around  the 
pistils." 

"And  the  pistils,"  concludes  the  teacher,  " are— 

"  In  the  middle  of  the  flower,"  rejoin  the  pupils. 


A    LESSON  ON   THE  BLACKBERRY. 

"Yes.  How  many  think  that  they  can  describe  the 
blackberry?" 

All  the  arms  go  up  with  a  rush. 

"  How  many  would  like  to  do  so?" 

The  hands  flutter  an  enthusiastic  affirmative. 

"Very  well,"  consents  the  teacher  cordially,  "I'll  give 
you  just  twenty-five  minutes.  Whenever  you  want  to  come 
and  look  at  any  part  of  the  plant,  be  careful  to  step  lightly. 
If  you  do  not  know  how  to  spell  a  word,  you  need  not 
wait  for  me,  but  draw  a  line  in  place  of  it,  and  go  on  with 
your  writing  till  I  come  around  your  way.  To  work  now, 
and  do  your  best !" 

Here  ends  the  lesson  in  Botany,  and  here  the  written 
language  lesson  (Composition)  begins. 

Three  of  the  essays  upon  the  blackberry,  produced  by 
these  eight-year-old  botanists  are  given. 


The  blackberry  is  a  plant  and  it  has  roots  and  some  little  rootlets.  It  has  a 
long  stem  and  there  are  thorns  on  it.  It  is  brown  and  woody  and  grows  up  out 
of  the  ground.  There  are  leaves  on  the  blackberry  bush,  that  have  a  great  many 
veins.  One  of  these  veins  is  called  the  midvein  and  the  others  are  called  vein- 
lets.  The  leaves  are  very  green  and  have  saw-teeth.  The  flowers  are  white 
and  have  stamens  petals  and  sepals.  We  call  the  sepals  the  calyx  and  all  the 
petals  together  are  the  corolla.  The  pistils  are  green  and  they  are  in  the  mid- 
dle of  the  flower.  On  the  top  of  the  stamens  is  a  spot  of  brown  called  pollen. 

n. 

The  blackberry  has  a  root,  a  long  stem,  some  leaves  and  flowers.  The  root 
grows  under  the  ground,  and  the  stem  grows  up  out  of  the  ground  almost  as 
high  as  a  tree.  It  has  green  leaves  which  have  a  midvein  and  many  other  veins 
called  veinlets.  These  leaves  have  saw  teeth.  Next  the  flower  has  four  parts. 
The  sepals  then  petals,  little  stamens,  and  then  pistils.  All  the  sepals  are 
called  the  calyx  and  all  the  petals  are  called  the  crolla.  The  petals  are  white, 
they  are  soft  and  smooth,  and  there  are  five  of  them.  On  the  stem  there  are 
many  thorns,  and  the  stem  is  brown  and  woody.  The  leaf  has  two  parts,  the 
petiole  and  the  blade.  The  berry  is  now  green  and  pretty  soon  it  will  be  good 
to  eat. 


5l8      THE   "QUINCY  METHODS'1  ILLUSTRATED. 

m. 

The  blackberry  plant  has  many  rootlets  about  the  part  that  grows  down  into 
the  ground.  The  part  which  has  the  rootlets  on  it  is  the  root.  The  stem  has 
thorns  on  it  like  a  rose  bush.  This  long  brown  stem  has  flowers  on  it.  The 
flower  has  four  different  parts.  I  will  tell  you  the  names  of  them.  The  sepals 
which  make  the  calyx,  and  the  petals  which  make  the  corolla,  the  pistils  and 
stamens.  In  the  middle  of  the  flower  there  are  the  pistils.  Next  them  are  a 
lot  of  stamens  and  then  the  petals.  The  petals  are  white  and  under  them  are 
the  sepals.  There  are  five  petals  and  five  sepals.  The  leaf  is  green  and  it  has 
a  petiole  and  a  blade  and  veins.  When  the  petals  all  fall  off  there  will  be  a 
little  green  berry  in  the  middle.  When  the  berry  is  black  it  is  ripe.  We  can 
make  some  dessert  out  of  them.  This  plant  is  wild.  It  lives  through  the  win- 
ter in  the  ground  and  it  grows  very  tall. 


Notes  and  Comments. 

Teaching  is  not  merely  leading  the  children  to  see  what  they 
would  not  otherwise  discover,  it  includes  likewise  the  orderly 
presentation  of  points  to  be  studied.  The  more  pupils  are 
stimulated  to  spontaneity  of  thought  and  its  expression, 
the  more  essential  becomes  this  matter  of  the  logical  ar- 
rangement of  the  subjects  of  thought,  by  the  teacher.  But 
the  older  the  children,  the  more  openly  this  may  be  done ; 
until  having  thus  half  unconsciously  formed  the  habit  of 
orderly  thinking,  the  pupils  will  insist  upon  it  of  their  own 
accord,  as  did  the  child  in  the  preceding  lesson. 


OHAPTEE  IT. 

SUPPLEMENTARY  GEOGRAPHY. 

PURPOSE  OF  THE  LESSON.— (1)  To  bring  to  the  notice  of  the 
children  the  necessities  of  life,  and  the  difficulty  of  obtain- 
ing these  without  the  help  of  appliances  belonging  to  a 
state  of  civilization. 

(2)  To  thus  lead  the  pupils— unconsciously — toward  an 
understanding  of  what  civilization  has  accomplished. 

(3)  To  have  the  children  apply  practically,  the  knowledge 
already  gained. 

(4)  To  give  the  pupils  an  opportunity  to  accumulate  new 
facts. 

(5)  To  train  imagination  to  bring  into  the  consciousness, 
vivid  and  clear  pictures  of  things  described. 

(6)  To  arouse  and  foster  a  love  for  literature. 
PREPARATION   MADE  BY  THE    TEACHER.— (1)  Originating   the 

device  of  making  Eobinson  Crusoe  represent  primeval  man. 
(2)  Beading  the  chapter  carefully,  and  deciding  upon  the 
points  to  be  made,  and  how  to  make  them. 

PREPARATION  MADE  BY  THE  PUPIL S.—  Their  love  of  adven- 
ture, and  all  that  they  know  of  Geography. 

PLAN  OF  THE  LESSON.— First.  Eeview  the  salient  points  of 
the  preceding  pages,  then  let  a  child  read  the  first  page. 

Second.  By  questioning,  draw  from  the  pupils  the  facts 
that  Crusoe  needed  (1)  food  and  drink ;  (2)  shelter ;  (3)  fire ; 
(4)  clothing;  (5)  companionship;  (6)  weapons;  (7)  tools;  and 
put  these  words  upon  the  board. 


520      THE   ' '  Q  UINC Y  ME  THODS  "   ILL  USTRA  TED. 

Third.  Ask  the  children  to  imagine  how  Crusoe  manages 
to  get  these  things. 

Fourth.  Have  different  pupils  read  the  chapter,  each  tak- 
ing a  page.  Mem. — Generally  select  the  good  readers. 

Fifth.  Ask  certain  children  to  make  pictures  of  Crusoe; 
the  vale ;  the  tree  Robinson  slept  in ;  the  hill  he  climbed ;  a 
cocoanut-tree  and  a  cocoanut. 

Sixth.  Call  upon  others  to  mould  a  valley;  a  hill;  an 
island ;  and  Crusoe's  island. 

Seventh. '  Question  upon  the  following  geographical 
points, — stream,  valley,  hill,  and  island. 

THE  LESSON. 

Friday  afternoon  has  come  and  almost  gone.  The  chil- 
dren have  worked  bravely,  though  during  the  last  fifteen 
minutes,  somewhat  wearily,  and  it  yet  lacks  three  quarters 
of  an  hour  of  the  time  to  go  home. 

As  the  second  division  face  around  in  their  seats,  at  the 
close  of  their  Number  lesson,  the  teacher  takes  a  book  from 
her  desk  and  turning  toward  her  tired  little  toilers,  asks 
with  an  approving  smile,  "Would  you  like  to  know  a  little 
more  about  Robinson  Crusoe?" 

"  Yes'm !"  "  Yes'm  1"  is  the  eager  chorus  of  the  animated 
class,  from  which  all  appearance  of  listlessness  has  van- 
ished. 

"  What  was  the  last  thing  that  happened  to  him?" 

"  He  fainted  away!"  declare  the  children  in  concert. 

"And  where  was  he?"  pursues  the  teacher. 

"On  the  shore!"  agree  the  voices,  and  one  adds  deliber- 
ately, "Just  got  there." 

"  Tell  us  about  it,  Albert." 

"The  ship  sailed  too  near  the  land,"  narrates  the  boy, 
"and  Capt.  Gordon  tried  to  save  them,  but  they  wouldn't 
let  him  until  it  was  too  late,  and  so  they  were  wrecked. 


SUPPLEMENTARY  GEOGRAPHY.  $21 

Then  they  all  got  into  the  boat,  and  the  boat  tipped  over, 
and  Robinson  went  clear  down  under;  but  he  was  a  first- 
rate  swimmer  so  he  kept  swimming,  and  by  and  by  the  big 
waves  carried  him  along  and  dashed  him  up  on  the  beach, 
and  then  he  fainted  away." 

"  Does  any  one  remember  anything  more?    Ellen." 

"  The  ship  was  called  the  Santa  Maria." 

"Well,  Fred." 

"The  Spaniards  cried  when  they  were  going  to  be 
wrecked,  but  the  Englishmen,"  with  a  triumphant  toss  of 
the  head— "didn't." 

"Yes?    Clemmie." 

"  He  had  hard  work  to  catch  his  breath  when  he  was 
under  the  water  so  long." 

"  Of  whom  are  you  speaking?" 

"Robinson  Crusoe." 

"Suppose  you  tell  us  once  more,"  proposes  the  teacher 
pleasantly. 

"Robinson  Crusoe  had  hard  work  to  catch  his  breath 
when  he  was  under  the  water  so  long,  and  he  was  almost 
drownded,"  is  the  amended  statement  of  the  impetuous 
talker. 

"Drowned,  Clemmie,"  corrects  the  teacher,  opening  the 
book,  and  glancing  around  the  room.  "Nannie  shall  be 
our  first  reader,"  she  decides  after  an  instant's  survey  of 
the  orderly  rows  of  bright  expectant  faces  ranged  before 
her. 

The  girl  named,  comes  forward  without  a  trace  of  self- 
consciousness,  and  takes  the  open  book  from  the  teacher's 
hand,  who  says,  * '  We  begin  at  the  third  chapter,  and  you 
may  read  the  page." 

Halting  midway  of  the  space  in  front  of  the  desks,  Nan- 
nie gives  a  glance  at  the  lines  before  her,  and  begins  to 
read.  The  manner  is  so  natural,  the  expression  so  true,  and 
the  sweet  voice  so  clear,  that  the  audience  settle  back  in 


522      THE    "QUINCY  METHODS"  ILLUSTRATED. 

their  seats  with  looks  of  happy  content.  When  the  page 
is  finished,  the  book  is  handed  back  to  the  teacher  and 
the  reader  returns  to  her  desk. 

"Imagine,  children,"  suggests  the  teacher,  "that  you 
were  in  Robinson  Crusoe's  place,  cold,  wet,  hungry, 
thirsty,  and  alone,  in  a  strange  country;  what  would  you 
want?  Hands."  They  fly  up  like  a  flock  of  birds  and  the 
list  begins. 

"Something  to  eat!" 

"Some  water!" 

"A  place  to  live  in!" 

"Some  fire!" 

"Wait,"  requests  the  teacher.  "Let  us  set  them  down. 
What  did  you  say,  Willie?" 

"  Something  to  eat,"  responds  the  lad. 

"  What  other  name  have  we  for  that?    Any  one." 

"  Food,"  answers  one  of  the  older  pupils. 

"  That's  the  word  I  wish,"  comments  the  teacher,  placing 
it  upon  the  board.  "  What  was  yours,  Carrie?" 

"  Water." 

"And  we  sometimes  call  that—" 

"Drink,"  supplies  the  last  speaker,  and  that  is  written 
below  food. 

"  Horace,  you  said—" 

"A  place  to  live  in." 

"Yes;  can  you  give  me  a  single  word  which  means  that?" 

"House,  "thinks  Millie. 

"That  is  not  what  I  want.  Any  one,"  permits  the 
teacher,  as  the  girl  does  not  speak.  But  the  class  also 
remains  silent.  "Look!"  the  teacher  commands,  writing 
carefully  the  word  shelter  in  line  with  the  other  two.  * '  Who 
gave  the  last,  and  what  was  it?" 

"I  said  fire,"  acknowledges  a  stripling,  who  is  anything 
but  fiery-looking. 

Fire  is  accepted,  and  goes  down  on  the  board. 


SUPPLEMENTARY  GEOGRAPHY.  $2$ 

"Well,  John." 

"I  should  think  he'd  want  some  more  clothes;  his  were 
all  wet." 

"So  should  I,"  coincides  the  teacher,  writing  clothing  as 
the  fifth  of  Eobinson's  wants.  '  *  William. " 

"  Wouldn't  he  want  somebody  to  talk  to?" 

"Very  likely,"  admits  the  teacher;  "  we  will  see  what  he 
says  about  it  later,"  and  she  writes  companionship  last  in 
the  list.  "  Suppose  now  that  we  try  to  imagine  how  Kobin- 
son  is  going  to  get  these  things,  and  then  we  will  open  the 
book  and  see  what  he  really  does.  Would  you  like 
that?" 

* '  O  yes'm !"    "  Yes'm !"  is  the  delighted  assent. 

"Very  well.  Which  of  these  five  things  would  he  hunt 
for  first?" 

'  *  Food !"    ' '  Drink !"  is  the  confused  chorus. 

"We  will  begin  with  food;  I'll  tell  you  this  much  of  the 
story,— there  were  no  people  where  he  was;  now  think 
hard  and  fast;  what  could  he  find  to  eat?" 

There  is  silence  for  a  little,  while  the  small  brains  work, 
then  a  hand  appears  and  Jessie  surmises, — "  He  might  get 
berries." 

This  gives  an  idea  to  Carrie,  who  adds—"  Or  nuts." 

George  now  takes  the  floor  to  suppose, — "  There  might  be 
deer  in  the  woods." 

"Ho!  that  wouldn't  do  him  any  good,"  retorts  Sydney; 
"  he  had  no  gun." 

"And  if  he  had,  how  could  he  cook  it,  when  he  hadn't 
any  fire,"  is  the  conundrum  that  Kittie  puts. 

"O  Miss  E.,  he  could  eat  oysters  raw!"  exclaims 
Leroy. 

"Well?"  smiles  the  teacher. 

"If  there  were  oysters  then  he  was  all  right,"  reasons 
the  lad. 

To  this  the  teacher  makes  no  reply  beyond  an  amused 


524      THE   "QUINCY  METHODS"  ILLUSTRATED. 

nod  of  agreement,  but  seeing  that  no  one  else  is  ready  with 
a  thought,  she  inquires,  ' '  What  will  Robinson  Crusoe  get  to 
drink?" 

"  Water!"  is  the  unanimous  verdict. 

"  There  was  plenty  of  that,"  observes  the  teacher  soberly; 
"  he  had  the  ocean  before  him."  The  hands  go  up  with  a 
rush  now,  and  everybody  is  wild  to  speak.  l<  What's  the 
matter,  children?" 

"  That  was  salt  water,"  affirm  the  voices. 

"  To  be  sure,  and  what  if  it  was?"  is  the  teacher's  demure 
query. 

*  *  He  couldn't  drink  salt  water !"  is  the  class  chorus. 

"  Well,  where  would  he  find  any  other  kind?    Mamie, 

"In  rivers  and  brooks." 

"In  ponds,"  reports  Frank. 

"In  wells,"  states  Nelson. 

"So  now  Robinson  Crusoe  would  start  oif  for  a  well, 
would  he?"  assumes  the  teacher. 

There  is  a  burst  of  laughter  at  this,  followed  by  Nelson's 
explanation,— "I  meant  a  spring;  there  wouldn't  be  any 
wells  if  there  weren't  any  folks  to  dig  them." 

"  Quite  true,"  grants  the  teacher.  "  What  shelter  would 
Robinson  find?" 

"He  could  get  under  some  bushes  or  trees,"  is  the  first 
conjecture. 

"He  might  find  some  big  rocks,  and  make  a  den  out  of 
them,  and  crawl  into  that,"  is  the  second. 

This  leads  to  a  third — "Perhaps  there  might  be  caves  he 
could  find  to  live  in. " 

"  If  he  could,  how  could  he  make  a  fire?"  is  the  teacher's 
next  query. 

"  With  matches,"  speaks  out  a  boy  before  he  thinks. 

The  class  go  off  in  another  fit  of  laughter  at  the  idea  of 
matches,  whereupon  the  young  matches-man  responds  hi 
rather  an  injured  tone,  **  I  don't  see  why  he  might  not  have 


SUPPLEMENTARY  GEOGRAPHY.  525 

some  in  his  pockets  somewhere,"  at  which  there  is  renewed 
merriment. 

"  You  may  talk  to  him,  Stanley,"  consents  the  teacher. 

"  He's  been  in  the  water  all  over;  they'd  be  spoiled  if  he 
had  any,"  explains  Stanley. 

44 1  know,"  breaks  out  an  eager  thinker  in  the  back- 
ground ;  "he  could  strike  a  rock  with  a  sledge-hammer,  till 
he  got  a  spark,  and  light  a  fire  with  that." 

Then  everybody  laughs  once  more,  and  no  further  ideas 
on  the  subject  of  fire  are  brought  forward. 

"What  next  does  he  need?"  asks  the  teacher,  turning 
toward  her  list. 

"Clothing!" 

"  He  could  get  the  skins  of  animals  and  sew  them  to- 
gether," suggests  Patrick. 

Several  hands  signify  dissent,  and  their  owners  being 
called  upon  assert  one  after  another  that, — "Eobinson 
hadn't  anything  to  sew  withl"  "He  hadn't  any  gun  to 
kill  the  animals  with." 

"  Just  as  like  as  not  he  had  a  knife  in  his  pocket,"  theo- 
rizes a  third. 

"  Harry,  take  the  book  and  read,"  dictates  the  teacher; 
"  perhaps  that  will  tell  us.  Before  he  begins,  how  many  of 
you  can  see  how  Eobinson  Crusoe  looked  just  now?  Mary 
describe." 

"He  was  sitting  on  a  large  stone  with  his  head  on  his 
knees,  crying,"  specifies  the  girl. 

44  Who  would  like  to  make  a  picture  of  him  on  the 
board?  Madge,  you  may.  Now,  Harry,  we  are  ready  to 
hear  the  next  page ;"  and  Harry  standing  in  good  position 
just  in  front  of  the  class,  begins. 

Before  he  has  read  many  lines,  the  teacher  stops  him 
with  a  polite  "  Just  a  moment,  Harry.  Who  can  tell  me 
why  Eobinson  Crusoe  looked  for  a  valley  when  he  wanted 
to  find  a  stream  of  fresh  water?  Eosa." 


526      THE   "QUiXCY  METHODS*  ILLUSTRATED. 

11  Because  that  was  where  it  would  be." 

u  How  do  you  make  that  out  ?" 

uThe  rain  would  run  down  the  sides  of  the  hills,  and 
make  a  brook  in  the  valley." 

"No  one  has  said  anything  about  hills  ;  we  are  talking 
about  a  valley.  Edward." 

"  We  have  to  have  hills  to  make  a  valley." 

"  Do  you  think  you  could  show  me  that  in  the  sand  ?" 

"Yes'm,  I  know  I  could,"  promptly  maintains  that 
youth. 

"  What  would  you  make  ?" 

"  Some  hills  and  a  valley  between." 

"  I'll  give  you  the  upper  right-hand  corner  of  the  mould- 
ing board  to  put  them  on.  You  will  find  plenty  of  sand  in 
the  box,  and  the  shovel  is  there  too.  Go  to  work.  Eead 
on,  Harry." 

"  How  many  can  see  the  narrow  vale  that  Crusoe  found, 
with  its  flowering  shrubs  and  trees,  and  the  sparkling 
stream  running  through,"  catechises  the  teacher  at  the  end 
of  the  paragraph.  Seemingly  everybody,  judging  by  the 
hands.  "  Ada  may  go  to  the  blackboard,  and  draw  it  as  it 
looks  to  her.  Once  more,  Harry,"  and  the  boy  with  the 
book  continues. 

He  does  not  read  quite  as  well  as  Mamie,  but  gets  the 
thought,  and  gives  it  clearly,  and  does  not  pause  again  till 
his  portion  is  completed.  The  instant  he  lifts  his  eyes 
from  the  page,  Leroy  speaks  out  in  his  usual  impetuous 
fashion, — 

"  Then  he  did  get  some  oysters  just  as  I  said." 

"Yes.     Harry,  you  may  hand  the  book  to  Nellie." 

Waiting  until  the  little  lady  named  reaches  his  side,  the 
small  gentleman  passes  the  book  to  her  with  a  manner  that 
is  charmingly  courteous  ;  at  the  same  time  pointing  out  the 
place  to  begin. 

Before  Nellie  has  read  a  paragraph,  hands  are  raised  all 


SUPPLEMENTARY  GEOGRAPHY. 

over  the  room,  and  at  Its  close,  Emma  being  given  per- 
mission to  speak,  complains,— "  She  reads  so  fast,  I  can't 
keep  up  with  her." 

"  Yes'm  I"  is  the  murmured  chorus  of  agreement,  before 
the  teacher  can  reply. 

"  You  hear  what  they  say,  Nellie;  begin  again." 

These  complaints  neither  embarrass  nor  annoy  the  reader, 
because  she  feels  that  the  motivp  of  her  comrades  is  not  to 
find  fault  with  her  but  to  learn  the  story;  and  being  as 
wishful  as  they,  that  all  should  know  what  the  book  says, 
the  child  strives  to  correct  herself,  with  an  amount  of 
energy  and  will,  which  no  ordinary  criticism  could  arouse, 
and  is  fairly  successful. 

"What  is  foliage?"  is  the  teacher's  question,  as  Nellie 
reaches  the  bottom  of  her  page. 

"  Leaves  1"  "Branches!"  "  Boughs  I"  "  Limbs  of  trees  1" 
is  the  mixed  response. 

"Why  do  wild  animals  search  for  their  prey  at  night?" 
is  her  second  query.  *'  Lewis." 

"So  that  men  won't  be  around  to  shoot  them,"  is  his 
supposition,  which  brings  up  another  hand,  and  turning  to 
its  owner  the  teacher  inquires,— 

••'What  have  you  to  say  to  that,  Mike?" 

"  I  don't  believe  that's  it,  for  where  the  wildest  animals 
are,  men  don't  go,  except  once  in  a  while,  when  they  go 
hunting. " 

"  That  sounds  reasonable,"  concedes  the  teacher.  "  Who 
has  any  other  idea  upon  the  subject?  Jack." 

"Maybe  they  see  better  at  night;  my  father  told  me 
that  cats  can,  and  I  guess  rats  do*,  and  there's  owls,"  adds 
Jack,  slowly  piling  up  the  evidence. 

"You  may  find  that  out  for  yourselves.  Possibly  you 
can  think  it  out,"  hints  the  teacher.  "Percy,  I'd  like  to 
see  a  tree  on  the  blackboard,  of  the  sort  that  Kobinson 
Crusoe  slept  in ;  and  if  you've  time  after  you've  sketched 


52S      THE   "QUIMCY  METHODS"  ILLUSTRATED. 

the  tree,  you  may  put  him  in  it.    Dennis,  we  will  listen  if 
you  will  read  the  next  page  to  us." 

Intensely  interested  in  the  story  and  a  ready  reader, 
Dennis  meets  with  no  difficulty,  except  the  teacher,  who 
soon  halts  him  to  ask,  "If  Crusoe  found  plenty  of  flowers 
why  were  there  no  berries,  Mattie?" 

"  Perhaps  it  wasn't  time  for  them.  It  might  have  been 
before  they  were  ripe." 

"Bessie." 

"I  guess  they  weren't  the  kind  of  bushes  that  had  ber- 
ries." 

"Go  on,  Dennis,  and  let  us  see  what  the  book  says,  but 
stop  when  you  come  to  the  end  of  the  next  paragraph," 
which  he  does. 

"  What  are  perpendicular  cliffs?    Belle." 

"  High,  steep  rocks,  standing  straight  up  and  down." 

"Can  any  one  tell  me  what  is  meant  by  impassable 
woods?  Jamie." 

"  Woods  so  thick  that  any  one  could  hardly  get  through 
them." 

"  Did  you  ever  see  any?" 

"  Yes'm;  once  over  on  the  Blue  Hills,"  informs  the  small 
traveller. 

"  Cassie,  you  may  place  a  hill  at  the  lower  left-hand 
corner  of  the  moulding-board,  and  make  it  as  much  like  the 
one  Robinson  Crusoe  climbed,  as  you  can.  Do  you  remem- 
ber the  description?" 

"Yes'm,"  assures  the  little  girl  confidently,  starting  off 
upon  her  work  with  business-like  celerity. 

"There  is  clay  in  the  closet,  and  I  think  some  bits  of  rock 
among  the  stones  on  the  lower  shelf,  to  make  your  cliffs  of. 
You  will  find  shoe-pegs  in  a  box  in  my  table  drawer,  that 
will  do  for  trees.  I  am  searching  for  some  one  who  knows 
just  how  that  hill  looked,  to  draw  it  for  me  on  the  board. 
Austin,  you  may  try  it.  Children,  how  would  Crusoe  know 


SUPPLEMENTARY  GEOGRAPHY. 

whether  he  was  on  an  island  or  not,  when  he  reached  the 
top  of  the  hill?  Gertie." 

"Because  he  would  see  water  all  around  if  it  was  an 
island." 

"  What  water,  class?" 

"The  ocean,"  call  the  voices,  all  but  one,  and  that  says, 
"  Salt  water." 

"  So  water  all  around  makes  an  island,  does  it?" 

u  Yes'm,"  agree  the  class. 

"Then  what  island  is  this,  that  we  see  out  here?"  point- 
ing to  Masachusetts  Bay,  visible  from  the  windows. 

The  children  stare  at  it  silently  for  a  second,  then  a 
boy  asks  "  What  one  do  you  mean?" 

"I  mean  all  this  water  that  we  can  see,"  indicates  the 
teacher. 

"The  water  isn't  an  island,"  protests  Eva. 

"You  just  told  me  that  water  all  around  makes  an 
island,"  maintains  the  teacher. 

"But  you  have  to  have  land  too,"  notifies  Louise. 

"  Does  land  make  an  island?" 

"  Yes'm,"  answer  the  class. 

"  Then,"  infers  the  teacher,  "  we  are  on  an  island." 

"No,"  denies  Edgar;  "because  the  land  must  be  sur- 
rounded by  water  to  make  an  island." 

"  What  do  you  mean  by  *  surrounded'?" 

"That  the  water  must  be  all  around  the  land,"  explains 
the  young  geographer. 

"Suppose,"  theorizes  the  teacher;  "that  the  water  came 
almost  around  it,  wouldn't  the  land  be  an  island  then, 
Larry?"  pitching  upon  a  boy  who  doesn't  seem  to  be  attend- 
ing, but  his  instant  answer, 

"No,  it  must  go  all  around  it,"  proves  that  appearances 
are  often  deceitful. 

"  Have  you  ever  seen  any  islands,  children?" 

"Yes'm!"  declare  the  class. 


53°      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

"Can  see  some  now,"  announces  the  usual  soloist,  with 
his  eyes  out  of  the  window. 

"  Oliver,  mould  an  island  for  me  on  the  upper  left-hand 
corner  of  the  moulding-board.  Fannie,  take  the  vacant 
corner,  and  build  an  island,  that  will  be  like  this  one  that 
Robinson  Crusoe  was  wrecked  upon,  so  far  as  we  have 
heard  about  it.  What  must  she  put  upon  her  island,  that 
Oliver  need  not  have?" 

"  A  hill !"  is  the  full  chorus. 

"  Yes;  finish  your  page,  Dennis,"  which  he  does  without 
further  interruption,  and  Annie  is  called  upon  to  succeed 
him. 

She  is  a  little  careless  at  first,  and  not  being  so  much  of 
a  silent  reader  (her  taste  leading  more  in  the  direction  of 
out-door  study),  she  fails  at  times  to  grasp  the  thought,  and 
directly,  there  are  signals  of  distress  from  every  part  of  the 
room. 

"What  is  it,  Dannie?" 

"I  don't  understand  what  she  reads,"  testifies  the  child 
with  a  forehead  full  of  wrinkles. 

"Don't  you?    Nettie." 

"I  don't  either;  I  think  she  must  have  left  out  some 
words." 

"  Begin  again,  Annie;  look  with  both  eyes  this  time,  and 
see  what  the  book  says  before  you  try  to  tell  us." 

The  complaint  and  caution,  accomplish  their  purpose, 
and  Annie  does  her  very  best  now,  while  not  being  stopped, 
she  gains  with  every  paragraph,  proving  the  exercise  most 
excellent  discipline  for  such  as  she. 

As  Annie  resigns  the  book  at  the  end  of  her  page,  the 
teacher  asks,  "How  many  ever  saw  a  cocoa-nut?"  The 
large  majority  apparently.  "  What  are  they  good  for?" 

"  To  eat !"  affirms  the  chorus. 

"To  drink,"  supplements  the  solo. 

"Yes,  the  milk.     Would  you  like  to  see  how  the  tree 


SUPPLEMENTARY  GEOGRAPHY.  531 

looks?"  is  the  teacher's  inquiry,  answered  in  full  and  em- 
phatic affirmative. 

"Here  is  a  picture  of  it.  I  am  sorry  I  couldn't  get  a 
larger  one,  "—holding  up  a  book  containing  a  wood-cut  not 
over  three  inches  square;  "hut  if  you  come  up  close  you 
can  see  it."  Whereupon  the  class  move  bodily  out  of  their 
seats,  and  crowd — an  orderly  yet  eager  group — around  the 
teacher's  desk.  As  fast  as  those  close  to  the  picture  have 
had  a  good  look  at  it,  they  give  way  to  those  in  the  rear, 
and  return  quietly  to  their  seats.  In  three  minutes  the 
last  curious  gazer  has  been  satisfied,  every  child  is  in  his 
place,  and  the  teacher  resumes  the  lesson  by  sending  Emory 
to  the  board  to  draw  the  tree,  and  Olive  to  sketch  the 
cocoa-nut,  telling  them  where  to  find  the  colored  crayons 
with  which  to  do  it;  then  she  directs,— 

"  Eugene,  you  may  finish  the  chapter." 

This  boy  is  the  best  reader  in  the  class,  and  with  a  satis- 
faction which  is  quite  evident,  his  impressionable  audience 
prepare  to  follow  still  further,  the  fortunes  of  the  forlorn 
Crusoe. 

Meantime,  Olive  and  Emory,  busily  draw  away  in  green 
and  brown  at  the  blackboard,— seemingly  quite  forgotten 
by  all  except  the  teacher  who  is  watching  their  progress, — 
till  they  finish  their  sketches  and  start  for  their  seats. 
The  other  work  was  completed  some  time  ago  but  has  not 
been  examined. 

Accordingly,  the  teacher  breaks  off  the  reading  at  this 
point,  in  order  to  call  the  attention  of  the  class  to  the  mould- 
ing and  drawings.  Edward's  sand  valley,  and  Austin's 
crayon  hill  are  accepted  by  the  keen  young  critics;  but 
Ada's  vale  is  objected  to,  as  not  looking  narrow;  a  point 
which  she  meets  by  saying  that  "  It  had  to  be  wide  enough 
for  the  stream  to  run  through." 

Something  is  wrong  with  the  one  leg  of  Crusoe,  that 
shows  in  Madge's  side  view  of  the  weeping  mariner,  but  no 


532      THE   "QUMCY  METHODS"  ILLUSTRATED. 

one  seems  to  be  able  to  tell  exactly  what  it  is.  Cassie's 
moulded  hill  has  too  many  shoe-peg  trees  on  its  top,  to  suit 
several  of  the  judges,  one  of  whom  quotes,— "It  said  the 
*  bare  summit '  in  the  book." 

Percy's  pictured  tree  passes  muster,  though  one  of  the 
class  remarks  sotto  voce,  "Don't  think  that  looks  much 
like  a  man  in  the  tree. " 

Oliver's  island,  and  Olive's  cocoa-nut  seem  to  suit  all  the 
lookers-on ;  but  Fannie's  representation  of  Robinson's  island 
as  he  found  it,  is  thought  by  three  or  four,  to  have  too 
much  of  a  stretch  of  beach;  Stanley  urging, — in  proof  of 
his  position, — "He  didn't  have  to  go  far  to  get  to  the  hill." 

But  the  brunt  of  the  criticism  falls  upon  Emory,  who 
has— absent-mindedly— made  his  palm-tree  all  green ;  trunk 
and  limbs,  as  well  as  leaves.  There  is  some  amusement  at 
his  expense,  when  this  is  observed,  which  he  endures  with 
great  amiability. 

Then  the  final  page  is  read,  amid  the  closest  and  most 
profound  attention.  When  at  its  end,  Eugene  lays  down 
the  book  and  walks  to  his  seat,  the  only  remark  made,  is 
offered  by  the  most  deliberate  child  in  the  room,  who 
drawls  out,  just  as  the  gong  strikes,— "He  didn't  have  any 
knife  after  all." 

"Good-by,  children,  till  Monday,"  says  the  teacher. 

"  Good-by," — repeat  the  fresh  young  voices. 

Through  the  open  door  comes  the  sound  of  the  drum.  A 
tap,  and  the  class  rise ;  another,  and  they  face ;  then  the 
beat  begins,  and  the  children  pass  out  and  away.  School 
is  done. 


otes  and  Comments. 

To  use  tha^Jfory  of  a  shipwrecked  sailor  stripped  of 
everything  ^nd'cas^  upon  an  uninhabited  island,  as  a  means 
of  turning  Ifc&ltl^ofcghts  of  young  children  back  to  the  be- 


SUPPLEMENTARY  GEOGRAPHY.  533 

ginning  of  man's  existence  upon  the  earth,  and  through 
it,  to  lead  the  pupils  to  think  out  the  primal  necessities  of 
life,  was  just  as  much  of  an  inspiration  to  this  teacher,  as  if 
Rousseau  had  not  implied  the  same,  a  hundred  and  twenty 
years  ago ;  for  she  had  never  read  Emile.  From  which  two 
morals  may  be  drawn.  Fir^t ;  that  there  is  no  monopoly  of 
valuable  ideas,  and  second ;  that  teachers,  even  the  best  of 
teachers,  are  wofully  ignorant  of  the  thoughts  and  theories 
of  those  whom  Col.  Parker  terms,  "our  spiritual  ances- 
tors,'! the  great  teachers  of  all  times.  It  is  perhaps  need- 
less to  state  that  this  lesson  conveys  far  more  by  implication 
than  it  does  directly ;  and  plants  more  seed  than  will  spring 
up  in  a  day. 


/EESIT71 


CHAPTER  V. 

AN  EXERCISE  IN  READING,  AND  A  RECITATION. 

THE  children  have  been  in  school  two  years.  In  this 
time,  they  have  learned  to  get  the  thought  contained  in 
simple  written,  and  printed  sentences,  such  as  are  found  in 
Second  Readers ;  and  to  give  the  thought  thus  gained,  flu- 
ently at  sight.  In  other  words,  they  are  able  to  read  a 
little.  Every  step  of  the  way  leading  up  to  this  result  has 
been  fully  illustrated;  from  the  preparatory  conversation 
lessons  given  during  the  first  weeks  of  the  pupils  school- 
life,  through  the  regular  work  of  the  first  year,— including 
the  teaching  of  the  script  word,  the  script  sentence,  and  the 
introduction  to  print  (involving  the  change  from  script  to 
print) ;— all  these  being  supplemented  by  a  lesson  in  the 
Second  Reader. 

Up  to  this  time,  the  attention  of  both  teacher  and  pupils, 
has  been  confined  almost  exclusively  to  the  getting  of  the 
thought,  while  the  giving  of  the  thought  has  taken  care 
of  itself.  This  was  as  it  should  be;  for  the  young  readers 
have  really  been  learning  a  new  language, — that  of  written 
and  printed  forms;— a  language  to  be  gained  through  the 
eye  instead  of  the  ear. 

There  is  but  one  more  step  to  be  taken  in  the  teaching  of 
Reading,  viz.:  the  training  in  dramatic  expression.  An 
excellent  suggestion  of  the  way  in  which  this  may  be 
accomplished,  is  found  in  this,— the  last  Reading  lesson 
which  will  be  photographed.  A  year  of  such  work  as  is 


AN  EXERCISE  IN  SIGHT  READING.  535 

here  delineated,  will  do  away  with  all  necessity  for  further 
teaching  of  Beading  per  se,  below  the  highest  grade  of  the 
Grammar  School. 


AN  EXERCISE  IN  SIGHT  READING. 

PURPOSE  OF  THE  LESSON.— To  train  the  children  to  give 
with  the  fullest  expression,  thoughts  obtained  from  the 
printed  page. 

PREPARATION  MADE  BY  THE  TEACHER.  —  General.  All  the 
power  she  possessed,  either  natural  or  acquired,  to  inspire 
her  pupils  with  enthusiastic  fervor. 

Particular.  Considerable  practice  in  reading  the  lesson 
orally,  with  a  view  to  dramatic  elf ect. 

PREPARATION  MADE  BY  THE  PUPILS.— (I)  Their  ability  to  im- 
agine vividly  the  events  described. 

(2)  Their  capacity  to  express  dramatically  what  they  im- 
agine. 

PLAN  OF  THE  LESSON.—  First,  ask  for  an  account  of  that 
part  of  the  story  which  was  read  at  the  previous  lesson. 
Then  lead  the  children  to  think  of  how  the  Three  Bears 
would  talk,  and  in  so  doing,  call  attention  to  these  points. 
(1)  The  change  from  narration  to  impersonation.  (2)  The 
different  qualities  of  voice  required.  (3)  The  expression  of 
emotion  through  voice,  face,  and  manner.  Meantime  try  to 
work  up  the  interest  of  the  class  in  the  story,  in  such  a 
way  that  the  enthusiasm  shall  culminate  at  the  denoue- 
ment, and  make  this  as  exciting  as  possible. 

THE  EXERCISE. 

The  first  division  have  just  finished  Reading,  while  tlio 
second  division  have  been  busy  writing  questions  about  a 
silver  vase  filled  with  roses,  that  stands  upon  the  teacher's 
table. 


THE  "QUINCY  METHODS"  ILLUSTRATED. 

11  My  readers  may  place  their  reading  books  and  my  busy- 
workers  their  slates,  upon  the  right-hand  corner  of  their 
desks,"  is  the  prompt,  low-spoken  direction  of  the  teacher, 
whose  genial  and  gentle  manner,  is  somehow  subtly  sug- 
gestive offeree  and  dispatch.  "Nettie,"  she  continues, 
addressing  a  nimble  little  woman  whose  book  was  first  in 
the  required  position,  "will  you  please  gather  up  the  books 
from  the  desks,  and  put  them  away  in  the  book-case  ?  Ear- 
nest, you  were  the  second  smartest  in  the  class,  I'd  like  to 
have  you  give  out  those  reading  books  that  are  lying  upon 
the  piano,  to  the  second  division.  Marion,  and  Dennis, — 
you  were  ready  next,  I  have  something  for  you  to  do. 
Take  the  slates  that  are  on  the  desks  of  the  second  division, 
and  distribute  them  to  the  first  division,  one  to  each. 
Meantime,  all  the  rest  of  us  are  to  sit  up  beautifully,  and 
sing.  What  shall  we  sing  ?  Howard." 

"Please  let  us  take,  *  Over  in  the  Meadow.'  We  haven't 
had  it  for  ever  and  ever  so  long,"  urges  the  boy. 

"  O  yes'm !"  "  Yes'rn !"  "  Do !"  "  Do,  Miss  E. !"  exclaim 
the  pupils,  as  the  teacher  hesitates. 

"I  thought  you  were  getting  to  be  too  old  for  that," 
she  responds  mischievously,  adding  after  the  emphatic 
"No'ms!"  with  which  this  objection  is  received,  "But  it 
takes  so  much  time. " 

"  Never  mind,"  encourages  a  voice  nonchalantly,  which 
brings  a  laugh  to  the  eyes  of  the  teacher  that  promptly  be- 
trays her  to  the  keen  little  folks  with  whom  she  is  dealing, 
and  there  immediately  sets  in  such  a  chorus  of  "  Pleases  ?" 
that  she  hastens  to  assent  by  inquiring, — 

"  Whom  will  you  have  for  a  leader  ?" 

"  Norah  McL.,"  call  out  the  children,  with  one  accord. 

"  Very  well.    Norah,  come  to  the  front." 

At  this,  a  girl  sitting  in  one  of  the  back  seats  rises,  and 
moves  awkwardly  down  the  aisle.  She  is  tall  for  her  age, 
and  her  pinched  features  together  with  her  poverty-stricken 


AN  EXERCISE  IN  SIGHT  READING.  537 

attire,  plainly  prove  that  all  her  gold  is  in  her  tresses, 
which  hang  a  wavy,  glistening  mass  of  golden  red,  down 
to  her  very  waist.  Never  confident,  Norah  is  slightly 
startled  by  her  sudden  selection,  and  when  upon  reaching 
the  front,  she  faces  about  and  meets  so  many  pairs  of  gaz- 
ing eyes,  her  embarrassment  increases ;  the  color  surges — 
wave  upon  wave— up  to  the  little  ringlets  curling  on  her 
freckled  forehead,  while  her  rough,  stubby  fingers  nerv- 
ously clutch  and  twist  a  fold  of  the  faded  frock. 

Seeing  this,  the  teacher  steps  to  Norah's  side,  and  passing 
a  protecting  arm  around  her,  whispers  "Sing!"  Like  a 
bird's  warble  is  her  voice,  low,  clear,  and  mellow ;  and  this 
is  what  she  carols. 

"  Over  in  the  meadow,  on  the  sand  in  the  sun, 
Lived  a  mother  toad,  and  her  little  toadie  one. 
'  Jump  I '  said  the  mother.    '  I  jump ! '  said  the  one." 

Immediately  all  the  listening  children  come  in  strong 
and  jerky,  on  the  chorus : 

"  So  he  jumped,  and  he  jumped,  on  the  sand,  in  the  sun." 

Then  Norah  leads  off  with  the  second  stanza. 

"  Over  in  the  meadow,  where  the  stream  runs  blue, 
Lived  a  mother  fish,  and  her  little  fishes  two. 
'  Swim ! '  said  the  mother.    '  We  swim,'  said  the  two." 

Here  everybody  chants  softly  and  smoothly ; 

"  So  they  swam,  and  they  swam,  where  the  stream  runs  blue.'1 

The  solo  singer  begins  again. 

"  Over  in  the  meadow,  in  a  hole  in  a  tree, 
Lived  a  mother  blue-bird,  and  her  little  birdies  three. 
'  Sing! '  said  the  mother.    '  We  sing,'  said  the  three." 

Every  voice  in  the  room  is  sweet  when  it  renders, — 

'*  So  they  sang,  and  they  sang,  in  their  home  in  a  tree." 


53$       THE   "QUINCY  METHODS"  ILLUSTRATED. 
Norah  now  gives  the  fourth  stanza,  which  runs,— 

"Over  in  the  meadow,  by  the  reeds  on  the  shore, 
Lived  a  mother  musk-rat,  and  her  little  ratties  four. 
'  Plunge ! '  said  the  mother.    l  We  plunge,'  said  the  four." 

And  the  fifty-six  eager  listeners  are  ready  to  join  in  and 
sing  heavily, 

'  So  they  plunged,  and  they  splashed,  by  the  reeds  on  the  shore." 

All  alone  the  girl  continues : 

"  Over  in  the  meadow,  in  a  snug  bee-hive, 
Lived  a  mother  bee,  and  her  little  honies  fire. 
1  Buzz ! '  said  the  mother.    '  We  buzz ! '  said  the  five." 

And  all  together  her  schoolmates  hum, — 

"  So  they  buzzed,  and  they  buzzed,  in  their1  snug  bee-hive." 

The  young  leader  is  getting  decidedly  into  the  spirit  of  the 
thing,  as  she  leads  off  with,— 

"  Over  in  the  meadow,  in  a  nest  made  of  sticks, 
Lived  a  mother  crow,  and  her  little  crows  six. 
4  Caw ! '  said  the  mother.  •  We  caw ! '  said  the  six." 

To  which  there  comes  the  chorus,  more  energetic  than  mu- 
sical,— 

'  So  they  cawed,  and  they  cawed,  in  their  nest  made  of  sticks." 

Lightly  Norah  now  chirrups ; 

"  Over  in  the  meadow,  in  the  grass  soft  and  even, 
Lived  a  mother  cricket,  and  her  little  crickets  seven. 

*  Chirp ! '  said  the  mother.    '  We  chirp  I '  said  the  seven." 

And  the  children's  voices  are  sharp  and  shrill,  as  they  pipe 
up,- 

"  So  they  chirped  cheery  notes,  in  the  grass  soft  and  even." 

Without  pause,  the  small  soloist  goes  on— 

"  Over  In  the  meadow  on  an  old  mossy  gate, 
Lived  a  mother  lizard,  and  her  little  lizards  eight. 

•  Bask ! '  said  the  mother.    •  We  bask ! '  said  the  eight." 


AN  EXERCISE  IN  SIGHT  READING.  539 

Slowly  and  lazily,  her  mates  sing  their  line: 

"So  they  basked,  and  they  basked,  on  an  old  mossy  gate." 

With  a  twinkle  of  fun  in  her  red-brown  eyes,   Norah 
proceeds : 

•'  Over  in  the  meadow,  where  the  cool  pools  shine, 
Lived  a  mother  frog,  and  her  little  froggies  nine. 
'  Croak ! '  said  the  mother.  '  We  croak ! '  said  the  nine. 

But    she  laughs    outright  when   the  roomful   hoarsely 
choruses,— 

"  So  they  croaked,  and  they  croaked,  where  the  cool  pools  shine." 

The  little  maid's  voice  and  manner  are  quite  expressive, 
as  she  strikes  up  the  tenth  stanza. 

"  Over  in  the  meadow,  in  a  sly  little  den, 
Lived  a  mother  spider,  and  her  little  spiders  ten. 
'  Spin ! '  said  the  mother.    '  We  spin ! '  said  the  ten." 

And  the  others  add  in  tones  as  thin  as  threads, — 

"  So  they  spun  silken  webs,  in  their  sly  little  dens." 

Somewhat  faster  the  leader  trills  out  the  next. 

"  Over  in  the  meadow,  on  a  fine  summer  even, 
Lived  a  mother  fire-fly  and  her  little  flies  eleven. 
'  Shine ! '  said  the  mother.     '  We  shine ! '  said  the  eleven." 

Full,  and  prompt  on  the  instant,  follows  the  refrain: — 

"  So  they  shone  like  stars,  on  a  fine  summer  even." 

For  the  last  time  Norah  leads  the  song  with — 

"  Over  in  the  meadow,  where  men  dig  and  delve, 
Lived  a  mother  ant,  and  her  little  antics  twelve. 
'  Work ! '  said  the  mother.    '  We  work ! '  said  the  twelve." 

And  the  chorus  chimes  in  heartily  and  strong, — 

"  So  they  worked,  and  they  worked,  where  men  dig  and  delve." 


540      THE   "QUINCY  METHODS"  ILLUSTRATED. 
"  Yes,  and  now  I  expect  you 

To  work,  and  to  work  like  the  little  antics  twelve," 

adds  the  teacher  instantly,  singing  her  impromptu  parody 
with  such  significance  that  the  children,  already  in  high 
glee,  burst  into  a  shout  of  laughter. 

When  this  subsides,  the  teacher  sets  affairs  in  their  ac- 
customed grooves  by  directing, — "The  first  division  may 
make  up  the  nicest  answers  they  can  think  of,  to  the  ques- 
tions that  the  second  division  wrote.  Put  them  upon  your 
own  slate  and  in  your  very  handsomest  hand- writing." 
Then,  without  waiting  to  see  if  her  mandate  is  carried  out 
by  these  small  people,— who  in  truth  do  not  seem  to  need 
supervision,  so  suddenly  and  steadily  do  they  settle  to  their 
work, — the  teacher  turns  toward  the  second  division,  and 
puts  the  question, — "  What  did  we  read  about  yesterday?" 

"  The  Three  Bears,"  *  is  the  concerted  answer. 

"Who  remembers  anything  about  the  story?"  Every 
right  arm  is  fluttering  like  a  pennant  in  a  strong  wind. 
"Fred,"  specifies  the  teacher,  and  the  hands  fall  as  the  boy 
rises. 

Standing  square  on  both  feet,  just  beside  his  desk,  with 
hands  at  the  sides,  shoulders  back  and  head  up,  the  boy  looks 
the  teacher  full  in  the  face,  and  narrates  in  pleasant  tones, 
and  perfectly  natural  manner,  the  following: 

"  There  were  three  bears  that  lived  in  a  house  near  the 
woods;  and  one  was  named  Little,  Small,  Wee  Bear,  and 
one  was  named  Middle-sized  Bear,  and  the  other  was  Great, 
Huge  Bear.  Each  one  had  a  bowl  to  put  his  porridge  in, 
and  each  one  had  a  chair  to  sit  in,  and  each  one  had  a  bed 
to  sleep  in.  One  day  they  had  made  some  porridge  for 
breakfast,  and  it  was  too  hot.  So  they  poured  it  into  their 
bowls  and  went  out  to  walk,  while  it  got  cool." 

*  This  was  chosen  because  it  was  easy  and  entertaining,  as  all  selections  for 
sight  reading  should  be. 


AN  EXERCISE  IN  SIGHT  READING.  541 

"Susie  may  tell  what  happened  next,"  announces  the 
teacher. 

That  wide-awake  young  lady  takes  up  the  tale,  and  rattles 
off— "While  the  three  bears  were  gone,  a  little  girl  came  to 
the  bears'  house,  and  she  peeked  in  at  the  key-hole,  and 
didn't  see  anybody;  so  she  lifted  the  latch,  and  walked 
right  in. " 

' '  Wait  a  moment,  Susie, "  interposes  the  teacher.  ' '  Jack, 
tell  her  what  the  little  girl  did  at  the  key-hole." 

"She  peeped  in." 

"Yes.  Now  Susie,  begin  there  once  more;  get  the  right 
word  this  time;  and  don't  be  in  so  much  of  a  hurry,"  ad- 
monishes the  teacher,  smiling  at  the  impetuous  maiden  as 
she  speaks. 

Somewhat  mortified  by  her  blunder,  which  brings  the 
most  becoming  of  blushes  to  her  face,  Susie  starts  off  more 
slowly  this  time.  * '  The  little  girl  peeped  in  at  the  key -hole,  but 
she  didn't  see  any  one,  so  she  lifted  the  latch  and  walked  in. 
When  she  saw  the  porridge,  she  thought  she  would  have 
some  out  of  the  big  bowl,  but  when  she  came  to  taste  of  it, 
it  was  too  hot ;  and  the  porridge  that  belonged  to  the  Middle- 
sized  Bear  was  too  cold,  but  the  Little,  Wee  Bear's  porridge 
was  just  right,  and  so  she  ate  it  all  up." 

"Percy,  what  is  it  you  wish?"  asks  the  teacher. 

"Susie  didn't  tell  the  little  girl's  name." 

"  Silver-hair,"  replies  Susie,  taking  the  correction  in  good 
part. 

"Percy,  you  may  go  on  with  the  story,"  decides  the 
teacher. 

' '  Then  Silver-hair  saw  the  bears'  chairs,  and  thought  she 
would  try  them ;  so  she  sat  down  in  the  big  one,  and  that 
was  too  hard ;  and  the  middle-sized  one  was  too  soft ;  and 
the  Little,  Wee  Bear's  chair  was  just  right ;  but  I  think  she 
must  have  sat  down  in  it  pretty  hard,  for  the  bottom  fell 
out,  arid  she  went  through  on  to  the  ground." 


542      THE   "QUINCY  METHODS'*  ILLUSTRATED. 

"  Then  what?  Hattie,"  selects  the  teacher,  and  Percy  sits, 
as  the  last  called  upon  begins. 

"Next,  little  Silver-hair  went  up-stairs,  and  there  she 
found  three  beds.  First,  she  climbed  upon  the  Great,  Huge 
Bear's  bed,  and  lay  down,  but  the  head  was  too  high  for  her. 
Then  she  lay  down  on  the  Middle-sized  Bear's  bed,  but  that 
was  too  high  at  the  foot  for  her,  and  then  she  lay  down  on 
the  Little,  Small,  Wee  Bear's  bed,  and  that  was  just  right ; 
so  she  got  into  it,  tucked  herself  up,  and  went  sound  asleep ; 
and  that  was  the  last  we  read,"  concludes  Hattie,  and  takes 
her  seat. 

"Well,  Nelson?"  says  the  teacher. 

"Was  this  little  girl  very  old?"  inquires  the  lad. 

"  Certainly  not;  what  made  you  ask?" 

"Because  the  book  said  that  she  was  called  Silver-hair, 
and  that  is  the  color  of  my  Grandma's  hair." 

"  Yes,  we  generally  call  white  hair,  silver  hair,  but  that  is 
not  what  is  meant  here.  Minna?"  calls  the  teacher  suddenly, 
speaking  to  a  shy  little  blonde  in  a  front  seat,  and  moving  to 
the  window  as  she  does  so ;  "  come  to  me. "  Obediently  the 
small  maiden  goes,  when  as  she  reaches  the  spot,  the  teacher 
lifts  the  shade,  and  lets  the  sunshine  fall  on  Minna's  hair  of 
palest  flaxen.  Thus  lit  up,  it  fairly  glitters,  and  when  the 
teacher  puts  the  question,  "What  does  it  make  you  think 
of ?"  every  pupil  answers,  "Silver!" 

" That's  all,  little  Silver-hair,"  assures  the  teacher.  "Now 
class,  open  your  books,  and  we  will  see  what  happened 
next." 

For  a  second,  nearly  every  one  seems  to  be  very  much 
taken  up  with  a  small,  three-cornered  piece  of  brown  paper, 
found  between  the  leaves  when  the  book  was  opened.  These 
prove  to  be  squares  folded  diagonally,  and  intended  to  keep 
the  pages  clean ;  being  placed  carefully  under  the  thumb,  at 
the  bottom  of  the  open  book.  But  one  juvenile,  too  impa- 
tient for  what  follows,  to  attend  to  preliminaries,  has  been 


AN  EXERCISE  IN  SIGHT  READING.  543 

skimming  the  first  paragraph.  "  They've  come  home!"  he 
proclaims  without  waiting  to  be  called  upon. 

"When  you  are  ready  to  read,  you  may  raise  your  hands, 
but  you  need  not  speak,"  observes  the  teacher,  placidly 
ignoring  the  hasty  reader,  who  thereupon  becomes  very 
much  interested  in  his  book-protector  and  its  arrangement. 

By  this  time,  the  hands  are  all  up,  and  Maggie  is  named  as 
the  one  who  is  to  read  first. 

Stepping  into  the  aisle,  the  child  takes  her  stand  opposite 
her  desk,  holds  her  book  in  the  left  hand,  drops  the  other 
arm  easily  at  her  side,  straightens  her  small  figure,  puts  her 
head  well  in  the  air,  and  begins : 

"  By  this  time  the  Three  Bears  thought  their  porridge  would  be  cool  enough ; 
so  they  came  home  to  breakfast.  Now  little  Silver-hair  had  left  the  spoon  of 
the  Great,  Huge  Bear  standing  in  his  porridge.  '  Somebody  has  been  at  my 
porridge,'  said  the  Great,  Huge  Bear  in  his  great,  gruff  voice!" 

Her  tone  is  clear  and  pleasant,  and  she  reads  as  fluently  as 
she  would  talk ;  but  her  manner  is  that  of  a  narrator,  all  the 
way  through,  so  the  teacher  questions, — 

"Who  was  it  that  said,  '  Somebody  has  been  at  my  por- 
ridge'?" 

"The  Great,  Huge  Bear,"  states  Maggie. 

"And  how  did  he  say  it?" 

"In  his  great,  gruff  voice,"  responds  the  reader,  who  be- 
gins to  look  as  if  she  foresaw  the  coming  interrogatory, 
"Did  you  say  it  that  way?"  to  which  she  replies  in  the 
negative.  "How  many  can  think  just  how  the  Great,  Huge 
Bear  would  talk?"  Several  signify  that  they  have  im- 
agined it.  "Who  wishes  to  try  to  show  us  how  it  sounds? 
Eddie." 

The  boy  begins  bravely,  but  hearing  the  light  sound 
he  makes,  instead  of  the  deep  growl  he  thought  he  was 
going  to  make,  he  falters,  and  would  fail,  but  that  the 
teacher  urges  him  forward  with  an  encouraging,—"  Go  on, 


5 44      THE   ' '  Q  UINC  Y  ME  THODS"   ILL  US TRA  TED. 

my  boy ;  that  will  do  for  a  beginning ;"  consequently  he  does 
little  more  than  pronounce  the  words. 

"Who  is  going  to  be  my  next  Great,  Huge  Bear?    Mike." 

This  youth  is  older,  and  not  wanting  in  assurance;  but 
his  mind,  like  that  of  the  reader  who  preceded  him,  is  fixed 
upon  the  sound,  rather  than  the  sense.  He  strikes  for  a  low 
note,  and  gets  it,  but  being  unable  to  control  his  voice,  it 
rises  gradually  as  he  speaks  the  sentence,  the  last  word 
being  given  in  his  natural  pitch.  The  effect  is  so  ludicrous 
that  the  children  smile  audibly, — a  proceeding  in  which 
Mike  joins  with  perfect  good-humor. 

"Is  there  anybody  else  who  would  like  to  be  the  Great, 
Huge  Bear?"  asks  the  teacher. 

Harry  volunteers,  and  commencing  more  modestly  than 
either  of  the  others,  he  manages  to  get  through  in  better 
style,  but  he  too,  merely  pronounces  the  words. 

"Well,  I  am  beginning  to  get  some  sort  of  an  idea,  of  how 
the  Great,  Huge  Bear  talked,"  remarks  the  teacher,  whereat 
the  children  look  very  much  amused.  "What  bear  spoke 
next?" 

"The  Middle-sized  Bear!"  is  the  instantaneous  chorus. 

"  I  am  looking  for  somebody  who  will  talk  just  as  he  did." 
The  hands  are  all  up  for  this.  "Jennie." 

"  And  when  the  Middle  Bear  looked  at  his,  he  saw  that  the  spoon  was  standing 
in  it  too," 

reads  or  rather  talks  Jennie.  Now  with  a  face  and  manner 
of  mild  surprise,  she  continues : 

"  '  Somebody  has  been  at  my  porridge; ' " 

then  dropping  back  to  the  tone  of  simple  narration,  she 
concludes ; 

"  said  the  Middle  Bear  in  Ms-middle  voice." 

"That's  pretty  good,"  acknowledges  tho  teacher;  "who  is 
to  be  my  Little,  Small,  Wee  Bear?  Josie." 


AN  EXERCISE  IN  SIGHT  READING.  545 

The  diminutive  woman  called  upon,  rises  and  reads  :— 

"  Then  the  Little,  Small,  Wee  Bear  looked  at  his,  and  there  was  the  spoon  in 
the  porridge-pot.  But  the  porridge  was  all  gone." 

So  far  she  has  rendered  the  meaning  well,  but  now  comes 
the  difficult  part.  With  a  swift  glance  at  the  teacher's  face, 
as  if  to  gather  courage  and  inspiration  therefrom,  the  young 
impersonator  of  small  bears  falters  forth  in  a  voice  hardly 
above  a  whisper — 

" '  Somebody  has  been  at  my  porridge  and  eaten  it  all  up,'  said  the  Little, 
Small,  Wee  Bear,  in  his  little,  small,  wee  voice." 

"That  was  a  small  voice,  certainly,"  grants  the  teacher. 
"Well,  Ida?" 

"I  don't  think  it  was  squeally  enough,"  criticises  that 
young  woman. 

' '  Perhaps  not.  Suppose  you  give  it  as  you  think  it 
should  be ;"  whereupon  Ida  pipes  up  in  shrill  head  notes, 
and  reads  as  did  Josie,  the  whole  paragraph  in  the  same  tone. 

"What  have  you  to  say,  Bobbie?" 

"The  little  bear  didn't  say  all  that!" 

"Well?"  rejoins  the  teacher. 

"Then  the  squeally  voice  shouldn't  go  all  the  way 
through,"  argues  Eobbie. 

"You  may  read  it,  and  show  us  just  what  you  mean." 

Robbie  does  so,  and  brings  out  his  point  of  giving  only  the 
little  bear's  speech,  in  the  little  bear's  tones ;  but  in  his  at- 
tempt to  strike  the  falsetto  he  unwittingly  changes  the 
quality  of  voice,  and  thus  suggests  another  ideal  to  the 
children,  some  of  whom  immediately  raise  their  hands, 
and  Ellen  being  called  upon  queries,  "Wouldn't  the  small 
bear's  voice  be  kind  of  squeaky?" 

"It  might,"  is  the  teacher's  non-committal  reply.  "I 
could  tell  better  after  hearing  some  one  read  it  in  that  way. 
You  may  try." 

High  and  shrill,  a  mere  squeak,  is  the  tone  in  which  the 


54-6      THE   "  QUINCY  METHODS"   ILLUSTRATED. 

girl  renders  the  lines  under  discussion,  carefully  resuming 
her  natural  voice  at  the  close  of  the  quotation.  This  meets 
the  instant  approval  of  the  juvenile  judges,  who  are  be 
coming  quite  anxious  that  the  three  hears  should  be 
properly  represented. 

"How  many  think  that  Ellen  said  that  just  as  Little, 
Small,  Wee  Bear  did?" 

Most  of  the  children  signify  their  agreement.  Out  of  the 
few  not  satisfied,  the  teacher  selects  one,  saying  to  him, 
"What  was  the  trouble,  Fred?" 

"I  don't  know,"  admits  the  objector;  "but  I  don't  think 
it  sounded  right." 

"  Ettie,  what  have  you  to  say?" 

"I  thought  Little,  Wee  Bear  was  almost  crying  because 
his  porridge  was  all  gone,"  ventures  the  child  hesitatingly. 

"  I  shouldn't  wonder,"  half  concedes  the  teacher.  "  Let 
me  hear  you  read  it  as  if  he  was. " 

Thus  incited,  Ettie  grows  bolder,  and  complains  that— 

"  'Somebody  has  been  at  my  porridge,  and  has  eaten  it  all  up.'  "— 

with  so  much  expression  of  face,  voice,  and  manner,  that 
her  small  audience  are  quite  carried  away  by  it. 

"  That's  what  I  meant,  Miss  E. !"  speaks  out  Fred  impul- 
sively ;  ' '  that  whining  voice. " 

"  Yes?  Who  wants  to  read  next?"  The  division  seems  to 
be  made  up  of  would-be  readers.  "  I  wish  to  have  some  one 
who  can  talk  like  the  Great,  Huge  Bear,"  smilingly  states 
the  teacher,  but  her  insinuation  does  not  lessen  the  number 
of  upraised  arms.  "  Bennie,"  she  selects. 

Pleased  to  be  picked  out,  and  ambitious  to  verify  the 
wisdom  of  the  choice,  Bennie  springs  to  his  feet,  takes  the 
book  with  his  left  hand,  the  military  position  with  his 
body,  and  starts  off. 

"Then  the  Three  Bears  began  to  look  about  them  to  find  the  thief.  Now., 
Little  Silver-hair  had  not  put  the  hard  cushion  straight  when  she  rose  from  the 
chair  of  the  Great,  Huge  Bear." 


AN  EXERCISE  IN  SIGHT  READING.  547 

i 

Thus  far  it  has  been  plain  sailing  and  Bennie  has  really 
read  very  well.  But  now  he  draws  a  long  breath,  puckers 
up  his  lips  and  jerks  out  word  by  word, — 

" '  Somebody  has  been  sitting  in  my  chair; '  " 

collapsing  at  this  point  into  breathlessness,  he  scurries  over 
the  words,— 

"  said  the  Great,  Huge  Bear  in  his  great,  rough,  gruff  voice," 

so  rapidly  and  in  so  low  a  tone,  that  they  are  hardly  dis- 
tinguishable. 

This  is  not  to  the  taste  of  these  amateur  critics,  whose 
judgment  is  apparently  voiced  by  one  who  comments  tersely, 
44  He  began  too  big,  and  ended  too  little." 

"  It  isn't  an  easy  thing  to  do,"  intimates  the  teacher,  a  little 
sorry  for  the  bluntness  of  the  criticism.  "  Who  else  would 
like  to  try?  Oscar." 

The  lad  speaks  the  descriptive  part  distinctly  yet  fluently, 
while  the  bear's  remark  is  rendered  with  considerable  fidel- 
ity as  to  voice  and  expression. 

"  Oscar  got  the  Great,  Huge  Bear's  growly  way  of  talking 
the  best  of  anybody,  didn't  he,  Miss  E.?"  appeals  an  out- 
spoken youngster,  as  the  boy  sits. 

"He  did  well,"  allows  the  teacher.  "I'd  like  a  middle- 
sized  reader  next.  Bridget." 

"  And  little  Silver-hair  had  pressed  down  the  soft  cushion  of  the  Middle 
Bear," 

says  Bridget,  with  her  eyes  on  the  book.  Lifting  them 
suddenly  she  exclaims  with  an  air  of  indignant  protest — 

" '  Somebody  has  been  sitting  in  my  chair,' " 

ending  calmly, 

"  said  the  Middle  Bear  in  his  middle  voice." 


5  4$       THE   ' '  Q  UINC  Y  ME  THODS "   ILL  US TRA  TED. 

Something  like  a  rustle  of  admiration  runs  through  the 
class,  as  Bridget  takes  her  seat,  and  the  teacher  rather  adds 
to,  than  takes  from  the  excitement,  as  she  commends  cor- 
dially, "  I  like  that.  Now,  where  shall  I  find  another  Small, 
Wee  Bear?  Mary,  let  us  see  what  you  can  do?" 

"  '  Somebody  has  been  sitting  in  my  chair,  and  has  sat  the  bottom  of  it  out; ' " 

squeaks  the  girl,    without  a  particle  of  expression,    but 
giving  the  rest, 

41  said  the  Little,  Small,  Wee  Bear  in  his  little,  small,  wee  voice," 

quite  well.     Several  criticisms  are  made  upon  this. 

First,  Stevie  rises  to  remark;— " I  don't  believe  Little, 
Small,  Wee  Bear  talked  that  way;  he'd  be  angry." 

Next,  Millie  observes; — "I  shouldn't  wonder  if  he  was 
crying  when  he  said  that." 

But  the  third  speaker,  Jack,  goes  unconsciously  straight 
to  the  point,  as  he  says  earnestly,  "I  guess  she  didn't  stop 
to  think  how  the  Little,  Small,  Wee  Bear  felt,  when  he  saw 
his  chair  broken  down." 

"I  think  that  was  her  trouble,"  coincides  the  teacher 
courteously.  "Stevie,  we  will  listen  to  you." 

Drawing  down  the  corners  of  his  mouth  and  nodding  his 
head  by  way  of  emphasis,  he  assumes  a  shrill  treble  and 
scolds  through  the  little  bear's  speech. 

Only  a  few  of  his  attentive,  eager,  listeners  seem  to  agree 
with  his  rendering,  most  of  the  class  evidently  waiting  for 
something  different. 

"Millie,  it  is  your  turn,"  notifies  the  teacher. 

This  time,  the  grievance  of  the  owner  of  the  broken  chair 
is  sobbed  out  in  quite  a  realistic  style,  creating  considerable 
excitement  and  some  smiles;  being— to  all  appearances — 
accepted  as  the  proper  interpretation. 

"Jack." 

The  earnest  little  fellow  stands  silent  for  a  moment,  as  if 


AN  EXERCISE  IN  SIGHT  HEADING.  549 

endeavoring  to  put  himself  in  the  small  bear's  place ;  then 
gradually  taking  on  a  look  of  injured  innocence,  and  begin- 
ning to  rub  his  eyes  with  his  unoccupied  hand,  he  speaks 
the  sentence  with  a  thin,  high,  quivering  voice,  and  an  ex- 
pression of  indignant  grief. 

This  is  greeted  by  an  instant  murmur  of  approbation  from 
the  appreciative  little  people,  who  like  larger  ones,  know 
the  right  thing  when  they  hear  it,  if  not  before. 

"  That  gave  me  a  good  idea  of  how  the  small  bear  talked," 
declares  the  teacher  with  a  radiant  face.  "Now  I  wish  I 
could  pick  out  a  boy,  or  girl,  who  could  make  me  think  I 
was  hearing  Great,  Huge  Bear  himself." 

Little  by  little  in  the  course  of  this  lesson,  the  teacher  has 
sought  to  arouse  the  interest  of  the  class  in  this  expression 
work,  until  now  the  dramatic  power, — often  latent  but 
never  lacking  in  children,— is  thoroughly  awakened;  imag- 
ination is  in  full  play,  and  the  pupils  are  enjoying  the 
exercise  of  these  faculties  with  the  keenest  zest.  Conse- 
quently the  division  seems  at  this  point  to  consist  mainly  of 
arms,  so  prominent  a  feature  have  those  members  become 
on  this  side  of  the  room. 

"It  is  hard  to  choose,"  audibly  soliloquizes  the  teacher, 
"but  I'll  take  Jesse  first." 

Swinging  out  of  his  seat  and  upon  his  feet  with  one  move- 
ment, the  child  is  so  eager  that  he  has  eyes  only  for  what 
the  great  bear  says,  and  begins  at  once  in  his  biggest  tones 
to  assert ; — 

"  '  Something  has  been  lying  on  my  bed ; ' " 

but  the  sudden  flutter  of  arms  in  the  air  around  him,  arrests 
his  attention  as  he  finishes  his  impersonation,  and  he  gives 
the  explanation,— 

•'  said  the  Great,  Huge  Bear,  in  his  great,  rough,  gruff  voice," 

in  decidedly  a  commonplace  manner, 


55°      THE   "  QUINCY  METHODS"  ILLUSTRATED. 

"Tell  him,  class,"  permits  the  teacher,  as  Jesse  takes  his 
seat. 

"You  didn't  begin  in  the  right  place!"  "You  left  out 
part  of  it !"  is  the  confused  chorus  that  he  hears. 

"  O  I  forgot  that!"  exclaims  the  boy,  as  he  glances  at  his 
book.  "Please  may  I  read  it  again?" 

"No;  you  must  learn  to  keep  a  steadier  head,"  decides 
the  teacher.  "I'll  hear  Jimmie  now,"  and  the  mortified 
Jesse  is  left — without  a  comment  upon  his  reading — to 
ponder  upon  his  lesson  in  ethics. 

Warned  by  the  experience  of  his  comrade,  Jimmie  com- 
mences calmly ; — 

"  Now  little  Silver-hair  had  pulled  the  pillow  of  the  Great,  Huge  Bear  out  of 
its  place." 

Here  he  takes  on  the  heaviest  tone  he  can  make,  together 
with  a  manner  expressive  of  slight  surprise,  and  gives  the 
large  bear's  speech. 

"Does  that  please  you?"  queries  the  teacher,  addressing 
her  enthusiastic  pupils.  "  Carrie." 

"I  should  think  that  the  bear  would  be  mad,"  suggests 
the  girl  slowly,  as  if  not  certain  of  her  ground. 

"You  mean  angry,  Carrie,"  interprets  the  teacher  with  a 
smile,  to  take  off  the  edge  of  her  correction.  "Arthur." 

"I  am  sure  he'd  be  very  angry,"  maintains  that  young 
man. 

"Well,  Eddie?"  speaking  to  an  excitable-looking  young- 
ster on  a  back  seat,  who  has  been  absorbed  in  trying  on  the 
most  savage-looking  faces  during  the  last  three  minutes, 
seemingly  endeavoring  to  make  a  great  bear  of  him- 
self. 

Now  he  rises  to  request, — "Please  Miss  K,  mayn't  I  read? 
I  tfiiess  I  can  do  the  big  bear." 

"If  you  think  you  can,"  emphasizes  the  teacher  signifi- 
cantly. 


AN  EXERCISE  IN  SIGHT  READING.  55  I 

"That's  what  I  meant,"  hurriedly  answers  the  earnest 
child.  "Shall  I  begin?" 

"Yes." 

"  Now  little  Silver-hair," 

says  Eddie,  starting  off  with  the  story  as  if  he  were  thinking 
it  up  as  he  went  along ; 

"  had  pulled  the  pillow  of  the  Great,  Huge  Bear  out  of  its  place." 

Here  he  pauses  in  the  midst  of  his  narration,  to  scowl  his 
forehead,  clinch  his  fist,  puff  out  his  cheeks,  project  his  lips, 
and  roll  his  eyes,  while  he  fairly  roars, 

"  '  Something  has  been  lying  on  my  bed; ' " 

when  casting  aside  his  wrathful  countenance  and  bass  tones, 
he  resumes  quietly, — 

"  said  the  Great,  Huge  Bear  in  his  great,  rough,  gruff  voice." 

This  is  the  most  ambitious,  as  well  as  the  most  successful 
attempt  at  impersonation  which  has  been  made;  and  it 
arouses  the  enthusiasm  of  the  class  to  the  highest  pitch,  one 
voice  proclaiming,  as  the  dramatic  little  reader  takes  his 
seat,  "That  was  just  splendid!1'  while  another  asserts,  "I 
think  that's  the  very  best  Great,  Huge  Bear  we've  had !" 

"  So  it  was,"  assents  the  teacher ;  "and  where  shall  I  find 
just  as  good  a  Middle-sized  Bear?" 

The  children  are  wild  to  read,  and  the  teacher,  not  desir- 
ing to  make  an  anti-climax  of  the  lesson,  deliberately  picks 
for  a  pupil  who  is  certain  to  do  well.  "  Connie." 

"  And  little  Silver-hair  had  pulled  the  pillow  of  the  Middle  Bear  out  of  its 
place," 

reads  the  girl,  in  such  a  perfectly  natural  manner  that  sev- 
eral look  up  off  their  books,  half  thinking  that  Connie  is 


552       THE    "QUINCY  METHODS"   ILLUSTRATED. 

talking.    Changing  her  pure,  low  tone  to  a  louder  and  fuller 
one,  she  declares  with  an  air  of  emphatic  disgust,— 

"  '  Somebody  has  been  lying  on  my  bed;' " 

returning  instantly  and  easily  to  her  first  manner  as  she 
continues, — 

"  said  the  Middle  Bear  in  his  middle  voice." 

Every  new  success  but  adds  to  the  excitement,  and  some 
of  the  pupils  are  standing  in  the  aisles  with  arms  at  their 
utmost  stretch,  in  their  anxiety  to  be  seen  and  selected  by 
the  teacher. 

"We  have  had  a  good  Great,  Huge  Bear,  and  a  good 
Middle  Bear ;  we  must  have  a  good  Little,  Small,  Wee  Bear. 
I  believe  a  little,  small,  wee  child  could  do  that  best,"  upon 
hearing  which,  those  who  were  the  standers-up  drop  nimbly 
into  their  seats,  trying  very  hard  to  look  as  if  they  had  not 
been  out  of  them.  But  in  vain.  "Lily,"  chooses  the 
teacher,  naming  a  quiet  child  in  the  corner,  who  has  not 
opened  her  lips  since  the  lesson  began,  but  whose  sensitive, 
expressive  countenance,  has  revealed  constantly  every 
changing  thought  and  emotion. 

Lily  rises,  while  the  quick  color  mounts  to  eyes  and  hair, 
as  she  announces  in  the  hush  that  follows, — 

44  And  when  the  Little,  Small,  Wee  Bear  came  to  look  at  his  bed,  there  the 
pillow  was  in  its  place.  But  on  the  pillow  was  little  Silver-hair's  pretty  head,— 
which  was  not  in  its  place,  as  she  had  no  business  there." 

Now  in  a  peevish,  baby  voice  Lily  whines  out, — 

'4  4  Somebody  has  been  lying  on  my  bed,'  " 

and  pausing  a  breath,  she  half  cries — 

'"And  there  she  is;'" 

hastening  on  in  her  ordinary  manner,— 

44  said  the  Little,  Small,  Wee  Bear,  in  his  little,  small,  wee  voice." 


AN  EXERCISE  IN  SIGHT  READING.  553 

This  caps  the  climax.  Every  child  in  the  division  has 
become  so  wrought  up  by  this  time,  that  the  teacher,  de- 
lighted with  her  success,  comprehends  on  the  instant  that 
she  herself  must  now  take  the  reading  in  hand ;  hence  with- 
out giving  them  breathing  space,  lest  they  settle  back  be- 
fore she  makes  her  point,  she  reads  the  next  sentence  with 
all  the  art  of  which  she  is  mistress, — while  the  children  look 
on  their  books  and  follow. 

"  At  this  the  Great,  Huge  Bear,  and  the  Middle  Bear,  came  and  stood  beside 
Little,  Small,  Wee  Bear,  and  looked  at  Silver-hair  lying  asleep.  Then  they 
looked  at  each  other,  and  said,  all  at  once,—" 

Here  the  teacher  halts,  and  the  pupils  hurried  on  by  their 
excitement,  hardly  conscious  of  what  they  are  doing,  growl 
altogether  with  one  savage  snap, — 

" '  Let's  eat  her  up ! '  " 

"  Mercy!  how  you  scare  me !"  exclaims  the  teacher  with 
a  very  real  start,  which  sets  every  child  in  the  room  off  in 
a  peal  of  laughter,  for  the  second  division  have  been  irre- 
sistibly impelled  to  listen,  toward  the  last,  so  intense  was 
the  excitement.  The  laughter  acts  as  a  safety-valve  for  the 
wrought-up  class,  who  are  further  quieted  by  the  carrying 
out  of  the  next  command  of  the  teacher. 

u Close  your  books!  Sit  up  straight  and  listen."  Then 
she  reads  rapidly  yet  expressively,  the  following  conclusion 
of  the  whole  matter. 

"  This  awoke  little  Silver-hair,  who  was  so  frightened  that  she  fell  out  of  the 
bed  on  the  other  side,  ran  to  the  window,  jumped  out,  and  ran  away  into  the 
woods,  and  the  Three  Bears  never  saw  her  again." 

Notes  and  Comments. 

"Next  to  the  direct  action  of  the  senses,  imagination  is 
the  most  important  in  its  length,  breadth,  and  depth,  of  all 
other  mental  powers.  Distinct  and  true  creatures  of  the 


554      THE   "QUINCY  METHODS"  ILLUSTRATED. 

imagination  are  an  indispensable  basis  for  reason,  and  for 
ethical  and  spiritual  culture.  No  subject  is  more  neglected 
in  our  schools."— Col.  Parker  in  u  Talks  on  Teaching" 

Nothing  trains  the  imagination  so  directly,  as  the  exer- 
cise of  the  dramatic  faculty;  for  nothing  can  be  imper- 
sonated clearly,  which  has  not  first  been  vividly  imagined. 
In  this  lesson  in  Heading,  three  points  were  gained.  First, 
exercise  of  the  imagination.  Second,  training  in  oral  ex- 
pression. Third,  a  change  from  the  evolution  of  thought 
to  the  evolution  of  feeling ;— which  means  rest,  and  recrea- 
tion. 


A  RECITATION. 

It  is  Friday  afternoon,  and  it  is  just  fifteen  minutes  of 
four  o'clock.  "  The  lessons  and  tasks  are  all  ended."  The 
pupils  are  sitting  with  hands  folded  and  eyes  to  the 
front,  waiting  for,  they  know  not  what;  while  the  teacher 
stands  silently  looking  into  their  faces,  till  she  holds  with  her 
steady  gaze  the  eye  of  every  child  before  her.  Then  she 
speaks: 

"  '  Listen,  my  children,  and  you  shall  hear 
Of  the  midnight  ride  of  Paul  Revere,'  " 

and  the  children  do  listen;  eager,  wide-eyed,  absorbed, 
while  the  teacher  tells  the  whole  of  that  stirring  story,  witlj 
a  spirit  and  power  that  brings  a  flush  to  the  cheeks,  and  a 
fire  to  the  eyes  of  both  speaker  and  hearers ;  yet  so  simply 
and  naturally  withal,  that  at  first  the  children  are  not 
aware  that  she  is  reciting  the  words  of  another. 

Up  to  the  very  last  she  holds  them,  and  in  the  hush 
which  follows  the  concluding  lines,  these  young  enthusiasts 
look  as  if  they  had  indeed  beheld  the  hurrying  horse  and 
his  bold  rider;  had  really  heard  the  voice  in  the  darkness; 


A   RECITATION.  555 

the  knock  at  the  door;  the  cry  of  defiance  and  not  of  fear; 
"the  midnight  message  of  Paul  Revere." 

Presently  her  audience  draws  a  long  breath,  and  a  voice 
exclaims,—"  O  Miss  E. !  did  it  truly  happen?" 

"  Yes,  and  not  far  from  here.  How  many  have  ever  seen 
the  Old  North  Church?" 

Quite  a  number  signify  that  they  have. 

"I've  been  in  Charlestown,"  declares  a  child. 

"  So've  I,  lots  of  times,"  boasts  another  promptly. 

"  My  uncle  lives  in  Concord,"  calls  out  a  wide-awake  boy, 
not  to  be  outdone. 

"My  grandma  lives  in  Medford,  and  I've  been  to  see 
her,"  triumphantly  announces  an  airy  young  miss. 

Then  the  oldest  pupil  in  the  room  makes  his  speech. 
"  Well,  once  my  father  took  me  to  Lexington,  and  showed 
me  the  monument." 

These  observations  have  been  fired  off  one  after  another 
in  swift  succession,  and  now  those  who  have  not  spoken, 
are  beginning  to  look  as  if  they  wished  that  they  too  had 
been  somewhere,  and  seen  something ;  so  the  teacher  comes 
to  the  rescue  with  the  query, — "  How  many  of  you  know  of 
a  Mr.  Revere  who  lives  in  Quincy?" 

"  I  do!  I  do,  teacher!"  whispers  a  boy,  shooting  his  hand 
up  over  his  head  with  the  rapidity  and  force  of  a  projectile. 

"Well,  he  is  the  great-grandson  of  this  Revere  I've  been 
telling  you  about,  and  his  name  is  Paul,  too." 

This  bit  of  information  makes  a  great  impression,  and  the 
probabilities  are,  that  the  individual  mentioned  will  be  well 
stared  at,  the  next  time  that  any  of  these  small  folks  chance 
to  meet  him  on  the  street. 

"Do  any  of  you  know  what  Middlesex  is?" 

No  one  has  an  explanation  to  offer,  and  the  teacher  helps 
her  pupils  to  answer  that  question  by  asking  another. 

"In  what  county  is  Quincy?" 

"Norfolk/" 


556      THE   "QUINCY  METHODS"  ILLUSTRATED. 

"  And  Concord,  Lexington,  and  Medford  are  in—" 

"Middlesex  county,"  infer  the  children  unhesitatingly. 

"To  be  sure.  Who  wishes  to  tell  me  the  story  that  I 
have  just  told  you?  Lee." 

"It  was  about  Paul  Revere;  how  he  rode  all  around  in 
the  night,  and  hollered  to  everybody  to  get  up,  and  get 
their  guns  ready  to  fight." 

"  You  mean  hallooed.    Sadie." 

•  "He  went  up  into  the  tower  of  the  Old  North  Church  in 
the  dark,  to  look  out,  and  scared  the  doves  that  slept  up 
there;  and  he  heard  the  wind  blow  down  in  the  graveyard." 

"  It  was  his  friend  who  did  that.    Artie." 

"There  was  a  battle  too,  and  they  got  behind  fences  to 
shoot,  and  then  they  chased  the  others." 

"Yes;  who  were  the  others?" 

Sharp  and  clear  over  the  teacher's  head  strikes  the  gong 
for  dismissal,  and  with  a  hasty — "  You  may  find  out  if  you 
can,"  she  bids  her  pleased  pupils  a  genial  "Good-night!" 
receiving  their  hearty  response — "Good-night,  Miss  E. !" 
with  a  graceful  bow.  Then  the  class  wheels,  the  lines  be- 
gin to  move ;  in  a  moment  they  have  all  passed  out,  and  the 
teacher  is  left  alone. 


On  Monday  afternoon,  as  these  children  enter  the  school- 
room, they  see  written  in  clear,  bold  characters  upon  the 
blackboard  back  of  the  teacher's  table,  these  lines: 

PAUL  REVERE'S  RIDE. 

Listen,  my  children,  and  you  shall  hear 

Of  the  midnight  ride  of  Paul  Revere, 

On  the  eighteenth  of  April  in  Seventy-five; 

Hardly  a  man  is  now  alive 

Who  remembers  that  famous  day  and  year. 

When  the  last  bell  rings,  the  teacher,  who  is  standing  by 
a  window  at  the  back  of  the  pleasant  home-like  room,  read- 


A   RECITATION.  557 

ing  a  copy  of  "  The  History  of  Boston  Town,"— bearing  the 
stamp  of  the  Quincy  Public  Library, — puts  it  back  upon  the 
book-shelf,  and  walks  down  the  aisle  to  the  front ;  pausing 
on  the  way  to  fasten  at  her  throat  a  bunch  of  violets,  softly 
slipped  into  the  hand  hanging  at  her  side,  as  she  passed  the 
giver's  desk. 

With  merely  a  preliminary — "Children,  you  may  all  look 
at  the  board,"  she  recites  the  lines  there  written,  adding  in- 
stantly, "Now,  you  may  read  them." 

They  do  this,  but  not  well,  making  a  concert  recitation  of 
it,  and  nothing  more. 

"  What  does  it  say  first?" 

"  '  Listen,  my  children,' "  respond  the  class. 

"  Yes.  Play  that  you  are  the  teacher,  and  that  I  am  the 
pupils;  and  that  you  are  going  to  tell  me  a  story.  Now, 
begin." 

'"  Listen,  my  children,'  " 

says  the  chorus  in  most  expressive  fashion. 

"  Then  what  will  happen?"  inquires  the  teacher. 
The  pupils  talk  on : — 

" '  And  you  shall  hear 

Of  the  midnight  ride  of  Paul  Revere,' " 

"When  was  it?"  queries  the  teacher. 

" '  On  the  eighteenth  of  April  in  Seventy-five:' " 

reply  the  children,  as  prosaically  as  though  answering  a 
question  in  arithmetic. 

Accordingly  the  teacher  makes  it  one  by  demanding, 
"  How  long  ago  was  that?  Kittie,  go  to  the  board  and  find 
out  as  fast  as  you  can." 

Kittie  steps  nimbly  to  the  nearest  blackboard,  figures 
swiftly  for  a  little,  and  the  class  call  out,  "One  hundred 
and  seven  years." 


THE   "QUINCY  METHODS*  ILLUSTRATED. 
"Yes,  and 

"  '  Hardly  a  man  is  now  alive 

Who  remembers  that  famous  day  and  year,' 

states  the  teacher  so  naturally,  that  the  children  think  that 
she  is  talking  to  them,  and  one  speaks  out;  saying,— 

"I  guess  not!  he'd  be  awful  old." 

"  What  does  that  mean,  Harry?"  addressing  the  speaker. 

"  Very  old,"  defines  the  boy  with  cheerful  readiness. 

"I  think  it  would  sound  better  to  say  so  then,"  gravely 
advises  the  teacher.  "Now,  class,  tell  me  what  it  says 
next  on  the  board. " 

" '  Hardly  a  man  is  now  alive 

Who  remembers  that  famous  day  and  year,'  " 

repeat  the  class,  with  a  good  degree  of  flexibility  of  voice 
and  inflection. 

"Who  would  like  to  tell  it  all  to  us,  alone?"  interrogates 
the  teacher,  and  looking  around  upon  the  eager  aspirants, 
she  chooses  Nettie,  the  best  reader  in  the  class. 

The  girl  rises,  steps  into  the  aisle,  takes  an  erect,  yet  easy 
position,  and  renders  the  lines  remarkably  well. 

"  Now,  we  will  all  try  it,"  decides  the  teacher.     "  Stand  I" 

The  class  spring  into  the  aisles. 

"  Let  me  see  every  pair  of  feet  square  on  the  floor;  every 
pair  of  shoulders  down  and  back;  every  head  up;  every 
chin  in;  and  every  pair  of  eyes  turned  this  way.  There! 
you  are  quite  fine  looking  little  women  and  men.  Don't 
forget  that  you  are  my  teacher,  and  that  you  are  going  to 
tell  me  all  this.  Look  at  me  all  that  you  can,  so  as  to  see  if 
I  like  the  story.  Begin!" 

The  young  elocutionists  start  off  with  such  an  emphatic 

"  '  Listen,  my  children,'  " 

that  the  teacher  hastens  to  assume  an  attitude  of  attention. 

•"And  you  shall  hear 

Of  the  midnight  ride  of  Paul  Revere.'  " 


A  RECITATION'.  559 

Some  of  the  readers  find  their  breath  giving  out,  and  hurry 
through — 

"  '  On  the  eighteenth  of  April  in  Seventy-five:' '; 

but  they  wind  up  in  good  style  with  the  closing  phrase,— 

" '  Hardly  a  man  is  now  alive 

Who  remembers  that  famous  day  and  year/  " 

just  as  the  clock  shows  the  hour,  and  the  signal  is  heard  for 
school  to  begin. 


CHAPTEE  VI. 

LANGUAGE  LESSONS  AND  PAPERS. 

ALL  work  in  Language  deals  constantly  with  two  things 
that  must  not  be  separated, — thought  and  expression;  for 
thought  without  expression  is  unborn,  and  expression  with- 
out thought  is  dead.  Hence  the  one  vital  principle  in  the 
teaching  of  Language,  is  to  make  thought  the  stimulus  to  ex- 
pression always:  consequently  a  large  proportion  of  the  les- 
sons described,  are  really  lessons  in  thought  rather  than  ex- 
pression; and  more, — much  of  the  language  teaching  and 
training  delineated,  has  been  (so  far  as  the  pupils  are  con- 
cerned) unconscious.  Again ;  as  the  mind  grows  only  in  its 
own  way,  there  can  be  but  one  presentation  of  the  subjects 
taught  which  will  be  a  perfect  adaptation  to  the  needs  of  the 
growing  mind.  Therefore  there  can  be  but  one  true  method ; 
all  variations  are  but  devices  leading  toward,  or  away  from 
the  one  natural  method.  It  is  these  variations— the  devices 
of  individual  teachers,  indicating  different  sides  of  the  same 
method — that  have  been  presented  in  the  illustrations  of  Lan- 
guage Work  thus  far.  These  have  been  carefully  arranged 
to  exemplify  every  grade  of  lesson  for  two  years  and  every 
phase  of  the  study  which  can  be  grasped  by  such  young 
students.  The  third  year  work  is  intended  to  show,  either 
by  photographs  of  teacher's  lessons  or  by  reproduction  of 
pupils'  papers,  how  the  various  lines  of  work  both  oral  and 
written,  already  commenced,  are  carried  on. 


A    GUESSING  AN£    THINKING  GAME.  561 


LANGUAGE.-A    GUESSING    AND    THINKING 
GAME. 

It  goes  without  saying,  that  every  lesson  given  under  the 
so  called  "  New  Method  "  is  in  a  measure,  a  language  lesson. 
It  follows  then,  that  the  work  coming  distinctly  under  that 
head,  has  always  some  special  end  in  view;  some  motive 
that  tends  toward  the  training  in  expression  per  se. 

For  instance:  the  Guessing  and  Thinking  Games  of  the 
Primary  year,  as  simple  as  they  seemed,  Were  excellent 
exercises  to  start  the  mental  machinery;  they  stimulated 
many,  probably  most  of  the  children  for  the  first  time  in 
their  lives  to  consciously  will  to  think,  and  to  think  fast. 

In  the  Guessing  Games,  the  pupils  answer  in  single  words. 
The  Thinking  Games  require  but  one  word  at  first ;  this  is 
expanded  into  a  stereotyped  phrase  in  the  next  lesson  of  the 
series ;  and  finally,  an  original  sentence  is  gained  from  each 
of  the  small  thinkers,  who  are  so  interested  in  the  thought, 
that  expression  comes  unconsciously. 

The  Game  here  presented,  is  both  a  Guessing  and  a  Think- 
ing Game.  First,  the  children  guess  the  word  which  rhymes 
with  the  one  named,  and  then  they  think  how  to  express 
their  idea  without  speaking  the  word  itself. 

Besides  this,  the  rhyming  game  combines  all  the  succes- 
sive stages  of  language  development  just  mentioned,  viz. : 
first,  the  word  (the  one  guessed) ;  second,  the  stereotyped 
phrase  (Is  it  an,  etc.) ;  third,  the  original  sentence. 

If  the  utility  of  the  Guessing  and  Thinking  Games  was 
not  recognized,  it  is  possible  that  the  photograph  of  this  ad- 
vanced exercise,  will  render  the  advantage  more  obvious. 

PURPOSE  OF  THE  LESSON.— To  make  use  of  the  keen  ac- 
tivity and  spirit  of  mirth  generated  by  play,  and  to  use 
them  to  the  best  advantage. 


$62     THE   "  QUINCV  METHODS"   ILLUSTRATED. 

PREPARATION  MADE  BY  THE  TEACHER.— The  selection  of  the 
word  and  the  time. 

PREPARATION  MADE  BY  THE  PUPIL S.  —Whatever  they  knew 
of  the  use  and  the  meaning  of  words. 

PLAN  OF  THE  LESSON.—  Think  of  a  monosyllable  in  com- 
mon use  among  the  children,  that  rhymes  with  many  words. 
Then  tell  the  class  one  of  these  words,  and  let  the  pupils 
guess  the  one  selected. 

N.  B.  Choose  a  word  that  they  will  not  be  likely  to  think 
of  at  first. 


THE  LESSON. 

"I  have  thought  of  something  that  rhymes  with  door," 
is  the  abrupt  announcement— seemingly  apropos  of  nothing 
— which  Miss  E.  makes  after  one  swift  glance  at  her  class,  as 
they  sit  before  her,  flushed  and  frisky  from  their  long  recess 
in  the  bracing  October  air. 

Like  lightning,  the  demure  expression  assumed  for  the 
occasion  is  transformed  into  one  of  wide-awake  fun,  and 
hands  go  flying  up,  one  after  another,  all  over  the  room. 

"Is  it  what  is  under  us?"  asks  the  first  child  called  upon, 

"No,  it  is  not  the  floor"  briskly  responds  the  teacher, 
placing  the  word  floor  upon  the  blackboard  just  behind  her. 

"  Is  it  something  you  make  a  boat  go  with?"  questions  the 
next  speaker,  as  he  is  signalled. 

"  No,  it  is  not  an  oar,"  is  the  answer  he  receives,  while  the 
teacher  turning,  places  that  word  just  under  the  other. 

"Is  it  something  that  birds  do?"  inquires  a  bright-faced 
miss. 

"It  is  not  soar,"  replies  the  teacher,  putting  the  word 
given,  on  the  board  with  the  others. 

"Is  it  something  on  the  side  of  a  dress?"  catechises  a  sec- 
ond little  woman. 

This  turns  the  tables,  greatly  to  the  delight  of  the  pupils, 


A    GUESSING  AND    THINKING   GAME.  563 

and  sets  the  teacher  guessing.  After  a  second  of  silence, 
she  gets  the  idea  and  affirms,  "It  is  not  a  gore,"  and  that 
goes  into  the  column. 

"Is  it  something  a  man  does  when  he  goes  to  sleep?" 
soberly  interrogates  a  third  small  feminine. 

"No,  it  is  not  swore,"  asserts  the  teacher,  smiling,  while 
she  writes  the  word,  at  the  distinction  as  to  sex. 

"If  you  say  you  have  some,  and  you  want  some—?"  sug- 
gests a  keen  little  fellow. 

"It  is  not  more,"  supplies  the  teacher,  making  it  with  her 
crayon  as  she  speaks. 

"Is  it  what  the  rain  does  when  it  comes  down?"  guesses 
an  urchin  in  the  corner. 

"  It  is  not  pour,"  declares  the  teacher,  placing  that  word 
with  the  rest. 

"  Is  it  what  twenty  is?"  demands  a  sharp  juvenile  eagerly. 

"No,  it  is  not  a  score,"  maintains  the  teacher,  though  it  is 
set  down  in  her  list. 

"Is  it  what  a  lion  does?"  imagines  the  youngest  of  the 
class. 

"  It  is  not  roar,"  decides  the  teacher,  adding  that  too. 

"  Is  it  what  is  left  of  an  apple  when  you  have  eaten  it?" 
specifies  a  young  son  of  Erin. 

"  It  is  not  core,"  informs  the  teacher,  emerging  from  the 
folds  of  her  handkerchief,  behind  which  she  has  coughed 
out  her  sudden  fit  of  laughter  at  Patrick's  bull ;  and  turn- 
ing to  the  board,  she  sets  down  his  word  with  the  others. 

"Is  it  where  you  go  to  buy  all  your  groceries?"  inquires 
an  embryo  housekeeper. 

"  It  is  not  a  store,"  responds  the  teacher,  putting  the  word 
where  it  belongs. 

"Is  it  what  you  do  with  a  gimlet?"  surmises  a  youthful 
carpenter. 

"  It  is  not  bore,"  reports  the  teacher,  as  she  writes. 

"Is  it  what  you  mow  with?"  infers  a  logical  damsel. 


564     THE   "  QUINCY  METHODS"   ILLUSTRATED. 

"No;  and  we  don't  call  that  a  mower,  but  the  one  that 
uses  it, "  instructs  the  teacher,  and  sets  the  word  in  its  order. 

"  Is  it  so  many?"  pantomimes  a  youngster,  holding  up  the 
fingers  of  one  hand. 

"No,  it  is  not  four,"  counts  the  teacher,  placing  her  re- 
sult upon  the  board. 

* '  Is  it  when  you  take  a  thing  from  its  place,  and  then  put 
it  back  again?"  explains  an  ingenious  stripling. 

"No, "assures  the  teacher,  after  an  instant's  hesitation, 
during  which  her  mischievous  pupils  exchange  glances  of 
keen  satisfaction  over  her  perplexity;  "it  is  not  restore;" 
and  that  word  is  number  fifteen  on  the  board. 

"  Is  it  when  anybody  comes  off  of  a  ship,  and  steps  on  the 
— ?"  implies  an  inventive  Yankee. 

"  No,  it  is  not  the  shore,"  answers  the  teacher,  copying  it 
in  her  column. 

"Is  it  something  in  a  drum?"  proposes  an  eager  guesser. 

"  I  suppose  you  mean  a  drum  corps,"  observes  the  teacher, 
after  a  moment's  thought;  "but  that  isn't  anything  in  a 
drum ;  it  is  a  number  of  men  who  play  the  drum.  It  is  not 
corps,  and  we  spell  the  word  this  way,"  writing  it  slowly 
at  the  head  of  a  new  line. 

The  children  have  pretty  much  exhausted  their  stock  of 
words,  and  the  hands  have  been  gradually  picked  off,  till 
only  one  here  and  there  remains. 

"Is  it  something  I  did  to  my  dress?"  puts  in  the  romp  of 
the  neighborhood. 

"It  is  not  tore,"  denies  the  teacher,  accepting  the  word. 

"Is  it  the  big  snake  in  the  woods?"  conjectures  an  un- 
fledged naturalist. 

"  It  is  not  a  boa,"  avers  the  teacher,  amused  by  the  pecu- 
liarities of  New  England  pronunciation,  as  she  spells  the 
word  with  her  crayon. 

"  Is  it  when  a  person  thinks  a  lot  of  another?"  defines  a 
future  Romeo. 


A    GUESSING  AND    THINKING  GAME.  $5 

"It  is  not  adore,"  states  the  teacher,  smiling  in  spite  of 
herself,  as  she  writes  it  rapidly. 

"Is  it  what  a  man  is  called  who  goes  around  sowing?" 
questions  the  son  of  a  farmer. 

"No,  it  is  not  a  sower,"  replies  the  teacher,  and  it  is 
placed  on  the  board. 

Every  arm  is  down.  The  children  are  completely  puz- 
zled, and  are  becoming  anxious  lest  they  lose  the  game, 
when  a  small  hand  nutters  up,  and  a  timid  little  sister  ven- 
tures, "  Is  it  some  kind  of  a  hen?" 

The  query  is  a  poser.  Both  teacher  and  pupils  knit 
their  brows  over  this  mysterious  member  of  the  hen  family, 
when  all  of  a  sudden,  it  occurs  to  the  teacher  what  the  girl 
means;  and  immediately  she  proclaims, — "It  is  not  a 
crower,"  turning  to  the  board  as  she  does  so,  to  hide  her 
mirth  under  the  pretence  of  writing  the  word.  But  the  ab- 
surdity of  the  thing  has  struck  the  small  people  too,  and 
they  go  off  into  a  shout  of  laughter,  in  which  the  innocent 
cause  joins  with  entire  amiability. 

Some  one  else  has  an  idea  by  this  time,  and  being  called 
upon,  the  thinker  catechises,  "Is  it  something  that  isn't 
high?" 

"It  is  not  lower,"  designates  the  teacher,  placing  that 
word  beneath  the  others. 

Then  the  owner  of  a  very  straight  arm  wonders, — "Is 
it  a  wild  pig?" 

"  No,  it  is  not  boar,"  publishes  the  teacher,  as  she  places 
the  word  on  the  board. 

"Is  it  something  they  have  on  their  legs?"  vaguely  in- 
timates a  small  observer. 

"  No,  it  is  not  a  sore,"  notifies  the  diverted  teacher,  writing 
as  she  talks. 

"O  Miss  E. !  is  it  those  little  things  you  have    on  your 

hands?"  fancies  an  anxious  player,  hoping  to  save  the  game. 

The  teacher  pauses  at  this,  but  only  for  a  little,  then  she 


$66     THE    "QUINCY  METHODS1'   ILLUSTRATED. 

announces,  "  It  is  not  a  pore,"  placing  the  word  beneath  the 
last  written. 

"  Is  it  something  you  have  in  a  picture?"  is  the  interroga- 
tion of  one  who  has — up  to  this  point — said  nothing. 

Again  the  teacher  hesitates;  then  she  supposes,— "  You 
probably  mean  cord,  but  that  doesn't  rhyme  with  door." 

"Is  it  something  you  put  your  clothes  in?"  is  the  forlorn 
hope  of  a  desperate  gamester. 

"Drawer  doesn't  rhyme,"  negatives  the  teacher. 

"  Is  it  when  you  take  anything  out  of  a  pitcher  and  pour 
it  back?"  anxiously  advances  another  wild  theorist. 

"I  presume  you  mean  re-pour,"  interprets  the  teacher, 
"but  there  is  no  such  word." 

All  these  absurd  guesses,  show  that  the  children  have 
about  used  up  their  vocabularies;  and  the  baffled  little 
Yankees  are  beginning  to  feel  that  they  are  beaten.  Still 
they  do  not  give  up  the  battle ;  all  are  thinking  fast  and 
hard.  Suddenly  one  hazards,— "  Is  it  when  you  go  quick, 
and  then  you  don't;  you  go—?" 

"  It  is  not  slower"  concludes  the  teacher,  glad  of  another 
word  to  write. 

"Is  it  one  who  throws  a  ball,  or  anything?"  drawls  out 
a  deliberate  pupil. 

"No,  it  is  not  thrower"  rejoins  the  teacher,  placing  it 
in  her  second  column. 

"  Is  it  anybody  who  hoes?"  invents  a  member  who  hates 
to  fail. 

"  No,  it  is  not  hoer,"  smiles  the  teacher,  setting  down  the 
new  word. 

"Is  it  one  who  grows?"  desperately  urges  the  oldest  in 
the  class. 

"It  is  not  a  grower"  protests  the  teacher,  writing  this 
also. 

"I've  thought  of  something!"  joyfully  exclaims  the  best 
thinker  in  the  room.  "  Is  it  the  front  paw  of  a  dog?" 


A    CONVERSATION  LESSON.  567 

"It  is,"  writing  swiftly,  "fore;  meaning  the  fore-paw  or 
the  fore-finger,"  acknowledges  the  teacher  gayly,  putting 
the  number  thirty  opposite.  Hereupon  the  gratified  little 
guessers  set  up  a  rustle  and  a  murmur  that  would  be  dis- 
orderly, did  it  not  cease  instantly,  at  the  words,  "All  to 
work  now!"  from  the  teacher,  who  adds  further;  "  Jimmie, 
Mary,  and  Susie,  distribute  these  books  to  your  rows," 
indicating  three  piles  of  Walton's  Primary  Arithmetics 
lying  upon  the  table;  "and  do  it  quickly.  The  first  divi- 
sion may  take  their  slates,  and  make  me  ten  sentences  about 
the  first  ten  of  those  words  on  the  blackboard ;  I  shall  pay 
special  attention  to  the  writing  when  I  come  round." 

Then  follows  a  combination  Reading  and  Number  exercise 
with  the  second  division,  the  pupils  being  called  upon  to 
read  the  problems  as  expressively,  as  if  that  were  the  main 
purpose  of  the  lesson ;  and  then  required  to  solve  them  as 
accurately  and  rapidly  as  if  the  lesson  were  in  Number. 

Notes  and   Comments. 

A  lesson  is  a  lesson,  and  the  more  enjoyment  the  pupils 
can  get  out  of  it,  the  better;  believers  in  the  serious  and 
painful  sort  of  teaching  to  the  contrary  notwithstanding. 
These  children  reviewed — mentally — more  words  in  the 
space  of  twenty  minutes,  than  they  would  have  done  in  as 
many  hours,  of  ordinary  language  lessons ;  and  they  had  a 
happy  time  into  the  bargain. 


LANGUAGE.— A  CONVERSATION  LESSON. 

The  class  have  been  writing,— describing  a  stuffed  bird 
that  stands  upon  the  teacher's  table. 

As  the  slowest  student  carefully  crosses  his  last  t  and 
.makes  his  final  period,  it  still  lacks  ten  minutes  of  four 


568     THE    "QUINCY  METHODS"   ILLUSTRATED. 

o'clock,  so  the  teacher  says,  naming  the  four  pupils  who 
finished  first,  "  Mollie,  Tom,  Richie,  and  Kate,  please  collect 
the  papers  and  pencils.  Place  the  papers  here,  and  if  any 
one  has  written  more  than  one  sheet,*  be  sure  and  fasten  the 
sheets  together;  you  will  find  the  fasteners  in  a  box  in  the 
right-hand  corner  of  the  table  drawer.  I  shouidxlike  to  see 
all  the  rest  of  my  children  sitting  up  beautifully,  and  look- 
ing as  if  they  knew  of  something  that  they  would  like  to 
tell  me.  Hurry  on  your  thinking-caps,  for  we've  only  ten 
minutes." 

Thus  incited,  the  pupils  begin  to  smile,  then  the  faces 
brighten,  and  the  arms  are  flung  up,  one  after  another  till 
there  are  quite  a  number  of  would-be  talkers. 

"Johnnie,"  selects  the  teacher. 

This  is  one  of  the  most  backward  pupils  in  the  room, 
hence  he  is  called  upon  first. 

"Sunday  I  was  walking,"  observes  the  boy  in  his 
moderate  fashion;  "  and  I  saw  a  squirrel  run  up  a  tree." 

"Did  you?" 

Here  a  hand  goes  up  with  great  energy,  and  the  owner 
being  called  upon,  commences  eagerly,  "  When  I  was  down 
at  my  uncle  Allen's,  I  saw  a  little  squirrel,  and  when  I  went 
again,  I 'saw  a  larger  one." 

"What  relation  do  you  suppose  the  larger  one  was  to  the 
smaller?"  inquires  the  teacher  with  responsive  interest. 

"  I  guess  it  was  his  mamma." 

"I  shouldn't  wonder,"  surmises  the  teacher.  "Well, 
Aggie,  what  have  you  to  tell  us?" 

"  The  plump  little  sister  "  addressed,  rises  with  a  face  full 
of  dimples,  to  say,— "The  other  day  I  went  down  back  of 
our  house,  and  got  a  whole  handful  of  ripe  huckleberries." 

'  *  So  early  ?"  rejoins  the  teacher.     ' '  Johnnie. " 

"  Last  Saturday,"  begins  the  boy  with  great  earnestness; 

*  The  double-ruled  manilla  paper  used  in  this  grade  comes  in  single  sheets  not 
folded. 


A    CONVERSATION  LESSON.  569 

"I  saw  a  snake,  and  it  stuck  out  its  stinger  at  me,  and  I 
picked  up  a  great  big  stone" — reaching  for  an  imaginary 
one  in  the  aisle— "  and  hit  him  right  on  the  head  "—making 
the  motion  as  he  speaks — "and  killed  him  dead!" 

"Yes,"  smiles  the  teacher.     "  Well,  Chris?" 

"  Once  when  I  was  out  walking  down  by  the  pond  over  at 
my  grandpa's,  I  saw  a  water-snake  running  all  around  in 
the  water,"  declares  the  young  namesake  of  Columbus. 

"Nettie,"  calls  the  teacher,  to  get  rid  of  further  snake 
stories. 

"My  cousin  found  a  great  big  turtle  in  his  pond  the  other 
day,  and  brought  it  over  to  our  house,  and  showed  it  to  us," 
informs  the  maid  with  an  air  of  communicating  something 
of  great  public  concern. 

This  starts  the  small  conversers  off  on  a  new  tack,  and 
the  next  speaker  discourses  thus : 

"Once  I  went  up  in  the  pasture  back  of  my  cousin's 
house,  and  I  saw  a  cow  lying  down  and  chewing  her  cud ; 
and  I  went  up  near  to  her,  and  there  I  found  a  bush  just 
full  of  ripe  blue-berries." 

Her  remark  brings  up  another  train  of  thought,  and  the 
succeeding  talker  remembers  that — "Last  spring  I  went 
down  in  the  meadow  after  strawberries,  and  I  took  off  my 
hat  because  it  didn't  feel  good,  and  left  it  on  the  ground, 
and  when  I  went  to  get  it,  there  was  a  little  bit  of  a  snake 
in  it." 

"  Mattie,"  specifies  the  teacher,  turning  again  to  the  femi- 
nine part  of  her  family  to  elude  the  reptiles  that  will  creep 
into  the  conversation. 

The  girl  rises  slowly,  and  commences  to  murmur  some- 
thing which  is  inaudible  except  to  those  in  her  immediate 
vicinity. 

"  That  will  do,  Mattie,"  decides  the  teacher  promptly  but 
pleasantly;  "  I  don't  wish  to  have  any  one  talk  to  me,  who 
doesn't  speak  so  that  I  can  hear  her.  Hattie." 


5/0     THE    "QUINCY  METHODS"  ILLUSTRATED. 

"Night  before  last,"  narrates  the  demure  little  damsel; 
"I  went  down  to  the  woods  by  the  '  Poor  Farm '  to  pick 
some  wild  flowers ;  and  I  found  a  whole  handful,  and  I  car- 
ried them  home  and  put  them  in  a  pitcher  on  the  mantle- 
piece." 

" That  was  nice,"  comments  the  teacher.  "Peter,  what 
is  your  story?" 

This  boy — who  was  born  with  certain  tendencies  which 
make  it  exceedingly  difficult  for  him  to  draw  the  line 
clearly  between  fact  and  fiction — swaggers  up  on  to  his  feet, 
sets  his  chin  well  out,  and  asserts  that,— u  Last  Sunday  night 
I  went  down  by  the  pond,  and  I  saw  a  whole  lot  of  little 
fishes  swimming  by,  and  when  I  raised  my  hand  like  that" — 
holding  it  out  in  front  of  him — "  they  jumped  over  it." 

This  remarkable  statement  is  received  in  utter  silence  by 
both  teacher  and  pupils,  but  the  atmosphere  is  arctic  for 
coolness;  and  the  mobile  faces  of  his  audience  are  so 
strongly  expressive  of  unbelief,  that  more  noses  are  observ- 
ably *  tip-tilted '  than  usual.  Still  the  teacher  makes  no 
comment,  only  gives  him  a  look  so  stern  and  sad  that  he 
drops  his  eyes,  and  shifts  uneasily  in  his  seat  to  which 
he  has  retired. 

Then  Ida  is  invited  to  say  her  say,  which  runs  thus:  "I 
have  a  rabbit  at  my  house ;  a  little  bit  of  a  white  rabbit 
with  pink  eyes.  The  men  got  it  for  me ;  they  found  it  in 
the  field,  and  brought  it  home  the  other  day." 

Of  course  this  gives  the  one  who  follows  his  cue,  which  he 
takes  unconsciously,  and  goes  on  to  publish  the  fact  that,— 
"  Patrick  O.  has  a  great  big  adder  in  a  box,  and  he  catches 
4  jug  o'rums,'*  and  puts  them  in  for  the  adder  to  eat,  and  he 
eats  them  alive,— swallows  them  whole." 

Afterward  comes  a  child  who  has  this  bit  of  experience  to 
narrate.  "  David  M.  and  I  went  down  in  the  woods  one  day, 
and  there  we  saw  a  little  squirrel ;  and  we  tried  to  catch  it, 

*  Bull-frogs. 


A    CONVERSATION  LESSON.  571 

and  we  did  almost,  and  then  it  got  away  out  of  the  hole, 
and  ran  clear  up  to  the  top  of  a  tall  pine-tree,  and  wouldn't 
come  down." 

"  No?"  interrogates  the  teacher,  with  eyebrows  and  voice, 
while  the  children  laugh  at  the  boy's  naive  complaint. 
"We  will  hear  you  Madge,"  turning  suddenly  upon  a 
sociable  young  woman,  who  is  whispering  to  her  friend  on 
the  left;  "  but  you  must  tell  us  just  what  you  told  Sophie," 
suavely  stipulates  the  teacher. 

Madge  colors,  hesitates,  hangs  her  head,  and  finally  mur- 
murs, "  I  don't  like  to." 

"Yes,  but  we  wish  to  know  what  it  was  of  such  import- 
ance, that  you  needed  to  tell  Sophie  in  school-time,"  sweetly 
insists  the  teacher.  "Please  don't  keep  us  waiting." 

So  Madge  finds  herself  obliged  to  repeat— greatly  to  her 
chagrin— "My  father  gave  me  ten  cents,  and  I  went  to  the 
store  and  got  a  strawberry -box  full  of  cherries ; "  then 
dropping  into  her  seat,  she  bursts  into  a  flood  of  tears, 
while  the  teacher  placidly  proposes  to  Essie  that  she  give 
them  the  benefit  of  her  ideas  upon  some  subject. 

Accordingly  the  little  lady  reports,  "The  other  day  as  I 
was  going  up  to  Mrs.  E.'s,  I  saw  a  striped  squirrel  run 
across  the  road,  along  the  fence,  and  around  behind  a 
stump,  and  I  couldn't  find  him  after  that. " 

"Now  we  have  only  time  for  one  more  to  talk.  Who 
has  something  very  interesting  to  tell  us?" 

There  is  a  great  show  of  hands  at  this,  but  the  teacher 
picks  purposely  for  one  who  will  do  well,  and  Mary  is 
given  the  floor,  and  this  is  her  speech:  "  The  other  day  my 
little  brother  Erny  came  in  and  said,  *  O  mamma,  there  is  a 
little  tunnin  sing  on  the  wall ! '  and  mother  came  out,  and 
it  was  a  little  rabbit ;  and  Erny  cried  when  it  ran  away,  and 
said,  ' Me  want  it ! '" 

This  pleases  the  pupils,  to  whom  the  teacher  puts  the 
question,  "  Why  did  Erny  talk  that  way?" 


5/2     THE   "QUINCY  METHODS"  ILLUSTRATED. 

"Because  he  was  so  young !"  " Because  he  was  too  little 
to  know  any  better !"  reply  the  voices. 

"How  about  you?  Are  you  old  enough,  and  large  enough 
to  know  any  better?" 

"  Yes'm!"  in  emphatic  chorus. 

"Very  well,  then.  If  I  hear  any  one  talking  like  a  baby, 
I  may  treat  him  like  a  baby,  so  look  out,"  archly  threatens 
the  teacher,  as  the  signal  sounds  for  dismissal ;  and  the  con- 
versation closes. 

Children  of  this  age,  are  still  too  young  to  have  learned  to 
use  language,  either  to  conceal  thought  or  the  want  of  it ; 
they  talk  of  what  they  think.  Consequently,  conversation 
work  in  this  grade,  is  mainly  serviceable,  as  affording  to  the 
teacher  a  means  of  learning  the  minds  of  her  pupils. 

Take  for  instance,  the  remarks  just  recorded ;  the  teacher 
who  could  fail  to  draw  from  them,  the  inference  that  chil- 
dren love  nature,  and  have  an  irresistible  bent  to  observe, 
and  discuss  animals,  would  grace  with  dignity  the  dunce's 
block  of  olden  times. 


LANGUAGE.-"  TALKING   WITH  THE  PENCIL." 

Oral  lessons  like  the  preceding,  are  incidental  at  this  stage 
of  advancement,  being  introduced  as  this  was,  merely  to 
fill  a  gap.  After  two  years  of  preparation — one  of  uninter- 
mittent  teaching  and  training,  and  one  of  equally  persistent 
practice  in  written  language— the  pupils  have  now  gained 
such  facility  in  writing,  that  the  third  year's  work  in  lan- 
guage consists  mainly  of  "  Talking  with  the  Pencil."  This 
provides  an  unlimited  quantity  of  Busy -Work,  some  sam- 
ples of  which  have  been  selected,  that  follow  in  direct  se- 
quence the  Conversation  Lessons  of  the  Primary  year. 

Those  entitled,  "What  I  did  at  Recess,"  are  identical  in 


"  TALKING    WITH   THE  PENCIL."  573 

motive  with  the  oral  exercise.  Those  called,  "What  I  did 
this  Noon,"  are  similar  to  the  conversations  recalling  what 
the  pupils  saw  when  they  went  to  Boston,  and  what  they 
did  in  vacation ;  while  the  imaginary  dreams  of  the  babies, 
find  a  parallel  in  the  B  Primary  boy's  original  account  of  the 
"Pig's  Party." 

WHAT  I  DID  AT  RECESS. 
i. 

First  I  went  out  and  went  to  see  them  play  school.  Kittie  Darrow  asked  me 
if  I  wanted  to  play.  I  said  no  because  I  was  playing  with  some  one  else.  Then 
the  girl  that  I  was  playing  with  she  called  me.  Then  we  played  school  and 
she  made  me  repeat  a  verse  after  her.  The  verse  was  we  were  crowded  in  the 
cabin.  I  had  a  nice  time.  After  recess  was  over  Kittie  asked  me  if  I  was  going 
to  play  with  her  this  afternoon. 

II. 

I  first  went  out  of  doors.  I  asked  Annie  Pemberton  if  she  was  going  to  play 
school.  Then  I  went  around  to  the  other  side  of  the  schoolhouse.  I  took  the 
B  class  out  on  the  walk  around  the  schoolhouse.  I  gave  them  some  numbers 
to  add.  Then  I  gave  them  a  card  and  they  said  thanks.  In  a  minute  Mina 
brought  Rilla  Wood  to  me  and  I  gave  her  one  of  my  scholars.  Then  the  bell 
rang.  It  seems  to  me  as  if  I  didn't  have  but  5  minutes  to  play. 

HI. 

First  I  went  out.  Then  I  went  around  the  school.  After  that  I  went  down  to 
the  pump  where  they  were  making  ponds.  I  sa^w  Tommy  make  a  big  pond. 
Then  I  came  in.  When  I  was  coming  in  their  was  a  boy  lost  his  hat  and  had  to 
go  back  after  it. 

IV. 

I  saw  a  boy,  he  had  my  stick.  I  said  "  Here  that's  my  stick  but  I'll  let  you 
have  it."  I  saw  another  and  I  got  it  and  went  down  to  the  pump.  Then  I  made 
a  dam  and  let  it  rise.  I  saw  a  boy  with  a  horn,  I  asked  him  "  Where  did  you  get 
that  horn?"  I  talked  with  some  other  boys.  Then  I  came  into  school  and  went 
to  work. 

V. 

First  I  played  horse.  Then  I  went  down  to  the  pump  to  get  a  drink  of  water 
and  I  saw  some  big  boys  jumping.  I  jumped  some.  Then  I  went  over  to  the 
seller  window  and  sat  down  and  I  saw  two  boys  fall  down  on  the  tar  walk. 
Then  the  bell  rang  and  I  came  into  school  to  take  my  seat. 

VI. 

First  I  went  out.  After  that  I  played  jackstones  with  my  sister.  Then  my 
sister  got  game.  I  did  not  want  to  play  any  more.  It  was  ofil  sunny  when  we 


5  74     THE   ' '  Q  UINC  Y  ME  THODS  "  ILL  US  TRA  TED. 

were  playing  so  we  went  round  in  the  shade.    Then  I  heard  the  bell  ringing  so 
I  came  in. 

WHAT  I  DID  THIS  NOON. 
i. 

First  I  went  over  to  see  if  I  could  see  Bessie.  I  saw  her  and  then  I  went 
home.  I  stayed  in  the  house  till  it  was  time  for  dinner.  While  I  was  waiting 
I  played  house.  I  could  only  play  a  minute  or  two,  for  I  was  called  for  dinner. 
After  dinner  I  went  out  and  picked  a  pretty  boquet  to  put  in  my  vase.  Then  I 
took  my  hat  off  and  hung  it  up.  Then  my  mama  said  she  would  read  to  me. 
So  I  went  out  on  the  piazza. 

II. 

First  I  went  home  I  took  my  things  off.  I  wanted  to  read  some  in  the  St. 
Nickolas.  But  there  was  not  any  thing  I  liked  besides  what  I  had  read.  I  went 
up  stairs  and  got  the  April  number.  I  began  to  read  about  a  king  who  had 
three  daughters  who  had  glass  hearts.  Soon  I  started  for  school.  I  saw  Ella 
Armstrong  and  she  asked  me  if  I  was  going  to  school  and  I  said  I  was.  I  met 
Miss  Guernsey,  and  she  said  "How  do  you  do  Sadie?"  Then  I  came  up  to 
school.  On  my  way  up  the  hill  I  saw  a  little  bird  fly  into  a  tree. 

m. 

After  I  ate  my  dinner  I  went  out  in  the  garden  to  pick  potato  bugs.  After 
that  I  put  some  hot  water  on  them.  My  father  told  me  to  water  the  onions 
this  morning.  Next  I  watered  the  flowers  then  I  washed  my  face  and  hands. 
I  went  after  some  water  and  wood  for  my  mother.  I  went  up  stairs  to  get  my 
knife.  After  that  I  went  to  school.  When  I  was  going  I  saw  a  bird's  nest.  I 
went  up  to  it.  There  were  five  young  birds  in  it. 

IV. 

When  I  went  home  I  took  oft  my  hat.  My  dinner  wasn't  ready.  So  I  went  in 
the  room  and  read  till  dinner  was  ready.  I  ate  my  dinner  and  when  I  got  done 
I  ( 1.  .ui-d  off  the  table.  In  a  little  while  I  washed  my  dishes  and  dried  them. 
My  mother  told  me  not  to  go  because  she  wanted  me  to  go  to  the  store.  Then 
I  bought  a  stick  of  candy  for  my  sister.  When  I  came  back  I  went  down  to 
.F.MII  Hfirlow'g  house  and  waited  for  her.  I  was  playing  on  her  little  piano 
while  she  wag  getting  ready.  When  we  were  most  up  to  the  market  we  heard 
the  first  bell  ring.  We  thought  it  was  the  last  one. 

V. 

When  I  ate  my  dinner  I  washed  my  face  and  hands  and  combed  my  hair. 
Then  I  went  and  brought  the  milk  up  for  my  mother.  After  that  I  went  down 
in  the  woods  after  a  bow  and  arrow.  But  I  could  not  find  any  good  one.  I  saw 
a  young  bird  on  a  i><>-t.  I  wmt  up  m-.-ir  it  but  it  flew  away.  It  could  not  fly 
v.-rv  well.  The  old  rol.in  <;i\v  ni<-  mid  six*  hnlh-refl.  I  w«>nfc  home  then.  Next 
I  went  down  eHl.ir  i"  Bttl  '  R  hit.-  I  \\  as  rutting  it  I  heard  the  first  bell 


AN  ACTION  LESSON.  575 

ring.  When  I  started  I  saw  Sydney  Jones  and  Hal  Downing.  I  ran  after  them. 
When  we  got  as  far  as  the  Post  Office  we  went  in.  Then  we  came  out  and  ran 
to  the  school. 

VI. 

First  I  ate  my  dinner.  Then  I  took  my  hat  and  got  my  bat  and  ball.  Then  I 
went  out  and  began  to  play  ball.  Pretty  soon  I  saw  Guy  and  his  brother.  Guy 
had  his  whip.  Charle  came  over  and  said  knock  up  flies.  He  did  not  play  it, 
but  we  went  up  to  see  the  bird's  nest.  There  are  four  young  ones  in  it.  Charle 
saw  Geo.  Jones  and  he  asked  Geo.  if  he  would  play  duck.  He  said,  "  No,"  But 
he  did.  I  did  not  play.  I  went  to  school  but  I  saw  my  uncle  Will.  I  asked 
him  if  he  had  the  fish  line.  He  did  not  answer.  I  asked  him  again.  He  said, 
"  C6me  to-night  and  I'll  give  it  to  you." 

THE  PIG'S  PARTY. 

One  day  as  I  was  going  down  the  road  I  met  a  pig  and  he  was  going  for  the 
woods.  Now  says  I,  wherever  there  is  one  there  is  two  and  I  follows  the  pig. 
And  sure  enough  when  I  got  in  the  woods  there  I  found  four  other  pigs,  one 
little  one  and  three  large  ones.  Now  says  I  to  myself  I  think  I  know  whose 
pigs  these  are.  And  I  went  to  the  man's  house  who  owned  them  and  I  told  him 
and  he  said  he  was  very  thankfull  for  I  told  him.  Then  he  gave  me  five  cents 
and  I  went  and  I  went  and  bought  a  five  cent  top  and  string.  When  I  went 
home  I  told  my  mother  and  she  said  very  good. 


LANGUAGE.— AN  ACTION  LESSON. 

The  school  has  worked  in  two  divisions  thus  far  in  the 
session,  with  alternating  periods  of  Busy- Work,  and  les- 
sons. 

Now  the  hour  for  a  general  exercise  has  arrived,  and  the 
teacher  takes  her  place  in  front,  ready  to  conduct  it.  Her 
movements  are  alert  yet  not  ungraceful ;  her  speech  quick, 
without  the  least  suspicion  of  sharpness;  while  her  man- 
ner indicates  one  who  is  indisputably  mistress  of  the  situ- 
ation. 

"Clean  your  slates!"  The  voice  is  low-pitched,  and  of 
pleasant  quality ;  the  articulation  clear  cut  and  the  inflec- 
tion decided. 


THE   "QUINCY  METHODS"  ILLUSTRATED. 

For  a  moment's  space  the  room  is  full  of  small  scrubbers, 
who  throw  into  the  present  act  the  same  spirit  and  energy 
that  they  show  in  everything  else  they  do.  As  fast  as  they 
finish,  the  children  fold  their  hands  upon  their  desks,  and 
await  the  next  direction,  which  is, — "Don't  let  me  do  any- 
thing that  you  don't  see." 

This  intensifies  the  attention,  and  now  the  keen-eyed 
youngsters  watch  their  teacher  like  a  lot  of  ferrets. 

Taking  from  the  ledge  of  the  blackboard  a  long  crayon, 
she  lets  it  drop  from  her  fingers,  and  as  it  strikes  the  floor, 
it  breaks  into  three  pieces. 

"What  did  I  have  in  my  hand,  class?" 

"  A  crayon!"  is  the  solid  concert. 

"Write  about  something  that  happened  to  it;  then  sit 
up." 

Instantly  taking  their  pencils,  the  pupils  begin  to  write. 
When  the  majority  are  again  in  the  attitude  of  attention, 
the  teacher  speaks  Willard's  name. 

That  young  gentleman  picks  up  his  slate,  steps  into  the 
aisle  opposite  his  seat,  and  reads.  "  The  crayon  dropped  to 
the  floor." 

"Yes.    Who  has  something  different?    Clara." 

"  The  crayon  fell  to  the  floor,"  reads  Clara  briskly. 

"  Has  any  one  said  it  another  way?    Lewis." 

"  The  crayon  dropped  and  broke"  is  his  version. 

*  *  Who  has  anything  else  ?    Margie. " 

"  The  crayon  dropped,  and  broke  in  three  parts,"  is  her 
precise  fashion  of  putting  it. 

"  How  many  can  think  of  more  ways  yet,  of  telling  about 
the  crayon?  Aggie." 

"The  crayon  slipped  to  the  floor." 

"Yes;  Joseph." 

"The  crayon  went  to  the  floor." 

"Possibly;  Bridget." 

"The  crayon  came  to  the  floor." 


'AN  ACTION  LESSON.  577 

' '  That's  true.    Frankie. " 

"The  crayon  fell  to  the  floor,  and  broke  in  a  number  of 
pieces." 

"Gertie." 

"The  crayon  fell  to  the  floor  and  broke  in  several  parts." 

"I  am  sorry  that  that  window  troubles  you,  Gilbert," 
observes  the  teacher,  with  a  tone  and  manner  of  affectionate 
consideration.  ' '  You  may — "  concluding  her  expression 
with  a  downward  motion  of  her  hand. 

The  boy  addressed,  who, — attracted  by  some  sound  in  the 
street  beyond, — was  gazing  intently  through  the  open  win- 
dow near  which  he  sits,  rises  at  once,  and  pulls  it  down ; 
then  with  a  face  rather  more  flushed  than  the  outlay  of 
strength  would  seem  to  warrant,  resumes  his  seat. 

"Write  what  Gilbert  did,"  comes  the  command,  and 
obediently  the  roomful  pick  up  their  pencils,  and  go  to  work. 

As  one  by  one  the  writers  finish  their  sentences  and  fold 
their  hands,  the  teacher,  who  has  been  passing  through  the 
aisles,  watching  their  progress,  and  preventing  mistakes  by 
timely  cautions  or  suggestions,  comes  again  to  the  front 
and  presently  signals  Tom  to  read  what  he  has  written. 

"  Gilbert  pulled  down  the  window." 

Then  Cora  is  called  upon,  and  she  has, — "Gilbert  closed 
the  window." 

Robbie's  slate  as  reported  by  himself,  bears  this  upon  its 
face.  "  Gilbert  drew  down  the  window;"  and  Paul's  hand 
being  raised,  to  show  that  he  has  still  a  different  rendering 
of  the  idea,  he  is  allowed  the  floor  to  state, — "  Gilbert  put 
down  the  window" 

Last  of  all  Myra  reads,—"  Gilbert  shut  up  the  window" 

This  brings  the  protest  from  one  of  these  literal  little 
people,  that, — "  Gilbert  didn't  shut  the  window  up;  he  shut 
it  down;"  whereupon  the  practical  Donald  declares,— "I 
don't  think  there  is  any  use  in  saying  up  or  down,  just  shut 
is  enough." 


THE   "QUINCY  METHODS"   ILLUSTRATED. 

"  So  it  is,"  decides  the  teacher  promptly.  ' '  Look  at  me  1" 
and  performs  an  action.  Then  carefully  choosing  the  child 
most  deficient  in  language,  she  calls  her  by  name;—"  Bessie, 
tell  me  what  I  did,  and  I  will  vrrite  it  on  the  board." 

"You  picked  up  a  pencil,  and  looked  at  it,  then  you 
turned  around." 

"  I  don't  think  it  sounds  well  to  begin  with  you,"1  speaks 
out  one  of  the  older  pupils. 

"  She  picked  up  a  pencil,"  corrects  the  child. 

"  /like  better  to  have  you  tell  who  did  it,"  is  the  teacher's 
courteous  comment. 

"Miss  E.  picked  up  a  pencil,  and  looked  at  it,  and  then 
she  turned  around,"  repeats  Bessie,  while  the  teacher 
changes  her  written  sentence,  then  passes  to  her  position  at 
the  table,  and  makes  another  motion,  after  which  she  asks, — 

"What  next?"  Looking  for  a  second  slow  pupil  she  calls 
out,— "Stevie!" 

' '  And  she  picked  up  her  knife, "  says  Stevie. 

"I  shouldn't  begin  a  sentence  with  and,"  intimates  the 
teacher,  as  she  writes. 

"She  picked  up  her  knife  from  the  table,"  amends  the 
boy ;  "  and  turned  around." 

"  What  is  it,  Clarence?" 

"  Both  Bessie  and  Stevie  said  picked  up." 

"Well?" 

"I  don't  think  that  sounds  nice." 

"  What  would  you  say?" 

"  She  took  up  her  knife,"  suggests  the  young  rhetorician. 

"  How  do  you  like  that,  Stevie?" 

"  I  like  it,"  admits  the  criticised,  good-naturedly. 

Here  an  arm  is  flung  up  most  energetically,  and  its  owner 
gaining  leave  to  speak,  affirms, — "  There  are  two  arounda^ 
pointing  toward  the  blackboard. 

"So there  are,"  agrees  the  teacher.  "Tell  Stevie  what 
hecansav  inHt<«;j'l  of  ;in/'i"  1." 


AN  ACTION  LESSON.  579 

This  critic,  like  the  generality  of  his  kind,  has  only  con- 
cerned himself  in  the  detection  of  what  is  wrong;  but 
how  to  make  the  wrong  right,  it  has  not  entered  into  his 
mind  to  consider,  consequently  he  has  no  answer  ready. 
However,  another  child  comes  to  the  rescue  with  the  propo- 
sition,— "  You  might  put  in  fcacfc." 

"Now  Stevie,  give  us  your  sentence  once  more." 

"She  took  up  her  knife  from  the  table,  and  turned  back," 
says  Stevie. 

These  corrections  being  made  in  the  written  work,  by  the 
teacher,  while  the  pupils  watch,  she  leaves  the  board,  and 
comes  once  more  to  her  place  in  front.  Moving  again,  she 
questions  quickly,  "  Who  wishes  to  tell  what  was  done  this 
time?"  Searching  as  before  for  the  dull  to  drill,  she  calls 
upon  Dennis. 

"  Then  Miss  E.  opened  it,  and  went  to  the  waste-basket." 

"  Has  any  one  anything  to  say  to  Dennis's  description?" 
questions  the  teacher,  stepping  toward  the  board. 

Not  a  hand  is  raised,  though  several  faces  show  dissatis- 
faction. So  the  teacher  begins  to  write  the  sentence  last 
given,  rapidly  yet  plainly,  while  the  children  look  on. 
There  are  a  number  of  hands  flying  when  she  turns,  after 
putting  her  period. 

"Now,  Jennie." 

"I  don't  like  it." 

"Well?"  urges  the  teacher. 

"  I  think  it  would  sound  better  to  say  Miss  E.  opened  her 
knife." 

"  How  many  think  that  would  be  an  improvement?" 

Most  of  the  class  signify  the  affirmative ;  but  Dennis  scowls. 

Turning  toward  him,  the  teacher  interrogates,  "Do  you 
like  the  change?" 

"No'm;  I  like  #  better." 

"Who  can  tell  Dennis  why  you  would  like  to  put  her 
knife  in  there?" 


580     THE   "QUINCY  METHODS"  ILLUSTRATED. 

Every  one  is  thinking,  but  no  one  is  ready  to  speak ;  so 
the  teacher  stands  waiting  patiently,  and  approvingly. 

After  a  little  a  hand  rises,  and  the  bright-eyed  girl  to 
whom  it  belongs,  remarks, — "I  don't  believe  I'd  know 
whether  Dennis  meant  the  table  or  the  knife,  if  he  said 
opened  it." 

"That's  good  thinking,"  commends  the  teacher  warmly ; 
"but  as  no  one  else  is  ready,  I  will  leave  those  sentences  for 
you  to  study  by  and  by.  Now  you  may  watch  me,"  be- 
ginning to  use  her  knife  upon  her  pencil,  adding  after  the 
action, — "  All  place  upon  your  slates,  one  word  which  will 
tell  what  I  was  just  doing.  Harry,  what  did  you  write?" 

"Sharpening,"  states  Harry. 

"  How  many  had  something  different?" 

Quite  a  number  apparently.  These  are  called  upon,  one 
at  a  time,  and  the  following  list  obtained,  which  the  teacher 
puts  upon  the  blackboard  beside  the  rest  of  the  lesson. 

"Whittling."  "Holding."  "Clipping."  "Scraping." 
' '  Cutting. "  *  *  Shaving. "  "  Chipping. "  ' '  Paring. " 

"I  had  not  thought  of  that  last  word,"  confesses  the 
teacher;  then  glancing  around  the  room,  and  seeing  that  all 
the  hands  are  down,  she  sends  them  up  by  surmising, — "  And 
I  don't  believe  that  any  of  you  have  thought  of  my  word." 

-Thus  she  stimulates  the  small  thinkers,  to  add  as  many 
again  to  her  column,  viz. :  "Stirring."  "Lifting."  "Mov- 
ing. "  ' 4  Handling. "  "  Touching. "  * '  Using. "  "  Tipping. " 
"Feeling."  "Putting." 

Still  they  have  not  struck  her  word,  so  now  she  suggests, 
— "  What  is  all  this  that  we  have  to  do  so  much  of,  every 
day?" 

"O  I  know  what  it  is!"  exclaims  an  impetuous  youth, 
before  he  thinks  what  he  is  doing. 

"Well,"  responds  the  teacher,  smiling  at  his  eagerness 
and  the  puzzled  faces  of  the  rest  of  her  pupils ;  * '  what  is  it, 
Larry?" 


AN  ACTION  LESSON.  58 1 

"  Working!"  proclaims  the  boy,  his  face  all  lit  up  with 
the  delight  of  discovery. 

"To  be  sure,"  assents  the  teacher.  "Now  we  will  stop 
talking  about  it,  and  go  to  doing  it.  All  ready !"  touching 
her  bell  as  she  speaks. 

At  the  signal,  appointed  monitors  sitting  near  at  hand, 
open  the  windows  and  door.  A  second  tap  of  the  bell,  and 
the  whole  class  spring  to  their  places  in  the  aisles.  A  third, 
and  they  assume  the  military  position,  putting  the  hands 
firmly  upon  the  hips.  Then  moving  in  time  to  rhythmic 
beats  of  the  bell,  the  pupils  twist  their  bodies  to  right,  to 
front,  to  left,  through  eight  counts ;  then  tip  them  from  side 
to  side,  for  the  same  length  of  time  and  finally,  bending  as  far 
as  they  can,  move  forward  and  back  while  counting  eight. 
Next  the  fists  are  thrust  together;  down,  out,  up  and  for- 
ward, with  the  greatest  force,  eight  times ;  and  the  steady, 
vigorous  exercises  are  concluded  with  clapping  the  hands 
through  eight  counts. 

Simultaneously,  the  signal  is  given  to  the  juvenile  com- 
mittee on  ventilation  and  the  class;  the  door  and  win- 
dows are  shut  as  the  children  sit,  refreshed  and  wide- 
awake, prepared  for  activity  in  whatever  direction  the 
teacher  may  desire. 

In  this,  as  in  the  Action  Lesson  of  the  Primary  year,  the 
purpose  is,  to  lead  the  pupils  to  the  study  of  expression 
through  the  thought;  but  the  lessons  in  this  grade,  differ 
from  the  earlier  exercises  in  three  particulars. 

(1)  The  pupils  knowingly  seek  for  appropriate  words  and 
phrases  to  embody  their    ideas.     In  the  beginning,   this 
selection  was,  to  a  great  degree,  unconscious. 

(2)  The   lessons   of   the   First    Year,   were    of  necessity 
altogether  oral.     These  are  mostly  written. 

(3)  The  introductory  Action  Lessons,  were  intended  more 
to  train  observation,  than  language;  while  this  advanced 


582     THE   "QUINCY  METHODS"  ILLUSTRATED. 

work  gives  language  the  greater  prominence,  the  synonym 
training  being  really  rhetorical  in  character. 


PICTURE  LESSONS. 

These  exercises  have,— like  the  preceding,  changed  their 
form  (from  oral  to  written),  and  also  their  motive.  They 
are  no  longer  used  as  means  of  teaching  new  idioms,  but  are 
of  great  service  in  carrying  on  the  training  in  observation ; 
and  are  almost  invaluable  as  supplying  subjects  of  thought 
to  the  young  writers. 

There  are  in  this  grade,  no  preliminary  oral  lessons,  but 
when  the  time  for  written  language  comes,  it  is  made  a 
general  exercise.  Each  pupil  is  given  a  different  picture, 
and  simply  told  to  write  about  it. 

In  this  work  the  children  are  left  entirely  free,  both  as  to 
manner  and  matter,  and  receive  no  help  beyond  the  spelling 
of  unfamiliar  words. 

Three  specimens  of  Third  Year  Picture  Lesson  papers,  are 
here  reproduced  exactly  as  written. 

I. 

In  tliis  picture  there  is  a  poll-parrot.  He  is  standing  on  a  perch.  There  is  a 
chain  hanging  down  on  the  side  of  the  perch.  There  is  a  dipper  on  each  end  of 
the  perch.  The  poll-parrot  has  a  piece  of  bread  in  his  claws.  He  has  a  long 
tail.  There  is  a  cracker  on  the  table.  The  cage  is  near  the  poll-parrot.  There 
are  ten  boles  in  the  cracker.  There  is  a  stick  of  wood  put  through  the  wires 
of  the  cage  so  as  he  can  perch  on  it.  I  think  the  poll-parrot  will  eat  the  bread 
by  and  by.  The  collar  of  the  poll-parrot  is  white  and  black. 

II. 

GRACIE  AND  HER  PETS.  % 

In  this  picture  I  can  see  a  little  girl.  Her  name  is  Grace.  Grace  has  three 
tame  birds.  The  names  of  the  birds  are  a  Swallow  and  a  Pigeon  and  a  Robin. 
Phe  has  a  rooster  and  two  hens  and  two  ducks.  She  has  a  dog  by  her  side. 
She  is  patting  him.  The  ducks  lay  two  eggs  a  day.  Her  cat  is  afraid  of  the 


A   STORY  LESSON.  583 

dog1  and  she  keeps  away  from  him.  The  cat  has  a  bone  in  her  mouth.  Grace 
has  curly  hair.  She  has  an  iron  in  her  hand.  She  gets  two  eggs  a  day  from 
the  hens.  She  owns  the  ducks  and  hens  and  she  gives  a  duck  egg  to  her  father 
and  the  other  one  is  for  her  mother.  Then  she  will  eat  the  two  hen's  eggs  her- 
self. Grace  is  sitting  in  a  big  basket  and  her  pigeon  is  perched  on  the  behind 
of  it.  Once  one  of  her  hens  were  clucking  and  her  mother  set  her  on  a  dozen 
eggs  and  she  brought  out  eleven  of  them.  Her  mother  did  not  tell  her  that 
they  were  hatched  until  she  let  them  out  in  the  yard  one  day  aud  Grace  counted 
them.  There  were  six  little  black  ones  and  five  little  white  ones.  When  they 
were  out  the  Robin,  Pigeon  and  Swallow  would  go  around  with  the  hen  until 
they  thought  it  was  time  to  get  their  dinner  and  the  hen  and  chickens  would 
run  home  and  the  three  birds  would  fly  home  to  get  their  dinner. 

Til. 

In  this  picture  there  is  a  dog.  His  name  is  Fido.  His  hair  is  long  and  shaggy. 
He  has  a  ribbon  around  his  neck.  Fido  is  in  a  large  arm-chair.  He  is  sitting 
down.  There  is  a  tidy  on  the  back  of  the  arm-chair.  Charlie  teaches  Fido  to 
play  tricks.  Emma,  is  Charlie's  little  sister.  She  is  going  to  school.  She  has  a 
book  under  her  arm.  Emma  has  an  old  siin-bonnet  on  her  head.  Her  little 
brother  is  sitting  on  the  floor.  Every  holiday  she  minds  her  little  brother,  while 
her  mother  is  working  in  the  kitchen.  She  helps  her  mother  as  much  as  she 
can.  Her  hair  is  short.  The  baby  is  in  his  bare  feet.  It  says  over  the  picture, 
"Wide  Awakes."  There  is  a  fountain  near  Emma.  Emma  can  see  a  ship  out 
at  sea,  and  she  looks  at  it  very  innocent.  Emma  is  very  small  and  I  think  she 
cannot  write  very  well,  nor  read  either.  She  does  her  best  and  trys  to  get  her 
lessons  right.  Mary  and  Charlie,  are  in  a  boat.  I  think  they  are  at  the  beach. 
It  was  so  hot  that  Mary  wore  her  old  sun-bonnet.  The  beach  is  not  far  from  her 
house.  Last  summer  her  father  built  a  little  tent,  close  to  the  beach,  and  he 
goes  down  there  every  day,  and  goes  out  in  a  boat.  Mary  likes  to  row  the  boat 
very  much.  The  ducks  are  swimming  in  the  pond.  They  have  their  ducklings 
with  them.  As  soon  as  the  little  ducklings  get  into  the  water,  they  can  swim 
right  off  as  well  as  their  mother.  Their  mothers  take  care  of  them  very  much. 


A  STORY  LESSON. 

The  pupils  have  long  outgrown  the  baby  story  lessons  of 
the  first  year;  but  they  are  children  still,  and  have  the  child- 
ish love  for  narration.  This,  the  wise  teacher  gratifies ;  either 
by  telling  or  reading,  [or  by  putting  into  the  hands  of  the 
pupils  themselves,  from  time  to  time]  those  old  stories  that 


584      THE    "QUINCY  METHODS"  ILLUSTRATED. 

the  approval  of  many  generations  of  little  people  has  ren- 
dered classical. 

Such  stories  not  only  give  delight,  but  they  exercise  the  im- 
agination, arouse  fancy,  and  often  quicken  the  moral  sense. 

In  addition  to  this,  the  ingenious  instructor  will  make 
stories  a  means  for  training  in  language,  as  did  the  teacher 
her  original  narrative  of  the  "Farmer  and  the  Fox,"  in  the 
Primary  Year:  also  the  Third  Grade  teacher  who  furnished 
her  pupils  with  a  specially  attractive  bit  of  Busy-Work,  by 
inviting  them  to  give  back  in  written  language,  the  story  she 
had  told  them  the  day  before. 

Here  is  a  sample  of  what  she  received. 

LITTLE  RED  RIDING  HOOD. 

One  day  little  Mary  was  going  to  her  grandmothers  with  some  lunch.  She 
met  a  wolf  on  her  way  and  he  said  to  her,  "  You  shall  go  that  way,  and  I  shall 
go  this  way."  So  they  went  along.  Mary  saw  some  nice  flowers  and  said,  "  Oh, 
grandmother  will  like  these  pretty  flowers  to  put  In  the  parlor."  So  she  sat 
clown  and  put  her  basket  of  lunch  down  too,  and  picked  them.  This  is  what 
they  called  Mary,  "  Little  Red  Riding  Hood,"  because  she  wore  a  red  cloak  and 
hood.  Now  the  wolf  ran  on  to  get  to  grandmothers  before  Little  Red  Riding 
Hood.  She  looked  at  her  nosegay  to  see  if  it  was  nice  and  large.  Then  she  got 
up  and  went  along.  Now  I  shall  tell  you  how  the  wolf  got  into  the  house.  He 
spoke  in  a  gruff  low  voice  and  grandmother  thought  that  her  grandchild  must 
have  a  bad  cold.  So  she  said,  "  Pull  the  bobbin  and  the  door  will  open,"  so  he 
did.  When  he  got  in  he  shut  the  door  very  softly  and  walked  quietly  into  the 
room  where  grandmother  was.  She  was  lying  in  the  bed  and  the  house  was 
nice  and  neat  and  looked  so  quiet.  I  will  tell  you  what  happened.  The  wolf 
sprang  upon  her  and  ate  her  all  up.  Little  Red  Riding  Hood  had  not  come  yet 
and  didnt  know  her  grandmother  was  killed.  When  Little  Red  Riding  Hood 
got  to  the  house  another  dreadful  thing  happened.  I  shall  tell  you>vhat  it  was. 
The  wolf  sprang  upon  Little  Red  Riding  Hood  and  ate  her  all  up  too.  I  think 
he  was  a  very  bad  wicked  wolf. 


LETTER-  WRITING. 

The  lesson  photographed  in  the  Second  Year's  Language 
Work,  showing  tho  beginning  of  letter-writing,  is  supple- 


OBJECT  LESSONS.  585 

mented  in  this  grade  by  the  following  epistle,  which  was 
written,  not  by  a  Quincy  child,  but  by  the  pupil  of  a  Quincy 
teacher. 

QUINCY,  MASS.  May  29,  1883. 

DEAR  TEACHER  ; — Did  you  know  that  Nina  Markham  was  going  to  move  up 
my  way  to-morrow?  Are  you  going  to  hear  the  band  play?  I  am  going  to  try 
and  read  through  Uncle  Tom's  Cabin.  I  think  I  will  go  and  see  the  Soldier's 
Monument  to-morrow  if  my  mother  will  let  me.  If  she  will  not  leave  me  go  I 
shall  go  down  and  play  school  with  N.  Markham  when  she  moves.  After  dinner 
Nellie  Mahaney  and  I  are  going  to  go  down  to  Miss  Grimes's  for  our  milk. 
When  we  come  home  I  am  going  to  play  house  with  my  sister.  Next  I  am  going 
to  go  and  make  my  beds.  Good-bye  from  your  scholar 

MOLLIE  BARBER. 


OBJECT  LESSONS. 

The  power  to  see,  and  to  tell  what  was  seen,— gained  by  the 
children  through  the  object,  action,  and  picture  lessons  of 
the  two  preceding  grades, — is  utilized  the  Third  Year  in  the 
observation  and  description  of  natural  objects, — the  study 
of  Zoology  and  Botany. 

The  manner  of  conducting  these  exercises  has  been  fully 
illustrated  in  the  lessons  upon  the  dog  and  the  blackberry 
in  this  Section. 

The  study  of  a  bird,  which  resulted  in  the  three  descrip- 
tions that  follow,  was  carried  on  in  a  similar  fashion.  That 
is  ;  the  bird  *  was  placed  where  every  member  of  the  class 
could  have  an  opportunity  during  the  exercise  to  examine, 
and  handle  it  freely.  Meantime  the  teacher  passed  ground 
among  the  pupils,  to  help,  and  to  hinder;  never  helping  the 
writers  either  to  a  thought  or  its  expression  ;  only  to  spell  or 

*  In  this  case  a  stuffed  specimen,  but  oftener,  one  shot  for  the  purpose  and 
used  the  same  day  or  the  next. 


586     THE    "QUINCY  METHODS"   ILLUSTRATED. 

punctuate, — the  mere  mechanics  of  the  work.  Hindering, 
always  if  possible,  when  a  wrong  form  of  any  sort  was  about 
to  be  made.  The  children  were  expected  to  describe  their 
specimen  sufficiently  well,  to  indicate  to  the  reader  what 
bird  was  meant. 

I. 

A  DESCRIPTION. 

This  thing  that  I  am  writing  about  has  a  bill,  two  eyes,  a  head,  breast,  and 
two  wings.  On  the  side  of  his  bill  there  is  a  little  line  that  runs  from  his  head 
down  to  his  bill,  at  the  end  of  the  line  there  is  a  little  spot  of  red.  It's  bill  is 
black  and  white  and  it  has  some  long  feathers  coming  from  his  head.  It's  eyes 
are  red  and  it's  feet  are  yellow.  It  is  standing  on  a  stone.  The  hind  head  is 
black  and  the  forehead  is  black  too. 

II. 

THE  LOON. 

The  loon's  bill  is  two  inches  long.  He  has  an  upper  mandible  and  a  lower 
mandible.  The  loon's  neck  is  about  four  inches  long.  He  has  gray  feathers  on 
his  neck.  The  loon's  eyes  are  very  sharp.  The  feathers  on  the  loon's  back  are 
gray  and  white.  The  loon's  body  is  twenty-three  inches  long.  He  has  three 
toes  on  each  foot.  His  back  is  broad  and  long.  The  loon  is  web-footed.  Mr. 
Anderson  caught  this  loon  out  in  the  woods  one  cool  day.  These  loons  are  very 
sharp,  they  can  hear  any  thing  near  them.  Some  of  them  you  can  hardly  catch. 
It  is  one  of  the  greatest  divers  and  swimmers  in  the  world.  His  feathers  are 
very  smooth  and  soft.  His  feet  are  very  sharp.  You  can  stick  your  fingers 
almost  through  his  bill. 

III. 

A  DESCRIPTION  OF  THE  LOON. 

The  loon  is  a  large  bird.  It's  bill  is  divided  into  two  parts  called  the  upper  and 
lower  mandible.  The  color  of  the  bird's  crown  and  forehead  is  gray  and  black. 
The  bird  has  a  long  neck  and  a  broad  back.  The  feathers  on  the  back  and 
neck  of  the  bird  are  called  plumage  feathers,  and  the  color  of  them  is  a  darkish 
gray.  It  Is  called  one  of  the  greatest  swimmers  in  the  world.  When  any  one 
•  'iH-s  to  shoot  the  loon  it  dives  down  under  the  water,  and  stays  there  till  it 
thinks  they  have  gone  and  then  it  will  come  up.  The  loon's  legs  are  flxrd  in 
ick  part  of  his  body,  HO  that  when  he  is  walking  he  stands  almost  erect 
Tin-  feathers  on  the  breast  of  the  bird  are  white,  and  are  called  the  downy 
f.'.'Uh-rs.  The  feathers  on  the  tail  and  wing's  of  the  bird  are  called  the  quill 
feathers. 


OBJECT  LESSONS.  587 


FOURTH  YEAR  PAPERS. 

Three  years  of  constant  teaching,  training,  and  practice 
in  language:  the  first,  confined  to  oral  work;  the  second, 
about  equally  divided  between  oral  and  written;  and  the 
third,  mainly  devoted  to  written ;  make  the  pupils  of  the 
highest  grade  of  the  Primary  in  Quincy  Schools,  good  talk- 
ers and  ready  writers,  within  the  range  of  their  childish 
ideas  and  limited  vocabularies.  In  other  words,  what  they 
know  they  can  say,  [either  with  tongue  or  pencil]  in  fair 
English  and  with  considerable  directness. 

As  there  is  no  new  line  of  language  teaching  entered  upon 
in  the  next  grade,  only  the  steady  continuance  of  what  is 
already  begun,  no  space  will  be  allotted  to  this  branch  be- 
yond that  given  to  the  Third  Year's  work.  Consequently, 
all  the  Fourth  Year  papers  which  are  reproduced,  are  pre- 
sented here. 

Number  one  is  a  sample  of  the  same  kind  of  composition 
as  those  just  referred  to  in  the  grade  below.  Number  two 
differs  from  the  preceding,  in  that  it  is  a  general  description 
of  a  species,  given  from  recollection,  instead  of  a  particular 
description  of  an  individual,  written  with  the  object  within 
range  of  the  senses. 

The  paper  entitled  ' '  The  Chair  and  The  Lady, "  is  a  pen- 
photograph  made  by  a  little  A  Primary  girl,  at  the  request 
of  a  visitor.  It  was  done  with  a  dignity,  earnestness,  and 
patience,  worthy  of  a  better  subject,  and  it  is  inserted  here 
because  of  the  close  dbservation  manifested,  and  the  con- 
scientious mention  of  minute  details. 

Number  four  is  the  description  of  a  picture,  and  has  the 
merit  of  being  a  careful  sketch. 

The  purely  original  account  of  "  The  Bear  and  the  Man," 
"is  of  such  stuff  as  dreams  are  made  of," — imagination; 
and  so  great  is  the  growth  of  this  faculty,  under  favoring 


588      THE   "QUINCY  METHODS"   ILLUSTRATED. 

circumstances,  that  in  less  than  four  years  of  exercise,  the 
make-believe  dreams  of  the  little  folks,  about  dogs  and 
horses,  rhinoceroses  and  giraffes,  are  transformed  into  thril- 
ling narratives  of  hair-breadth  escapes  like  this ! 

So  susceptible  of  development  also,  is  the  power  of  ex- 
pression, under  persistent  training,  that  in  the  same  time, 
the  short  stiff  sentences  in  which  the  tiny  thinkers  told 
their  thoughts,  have  expanded  into  the  foolscap  pages  of 
easy,  well-constructed  paragraphs,  in  which  the  A  Primary 
pupil  relates,  "What  I  am  thinking  about." 

NUMBER  ONE. 

THE  DUCK. 

The  duck  is  very  fond  of  swimming.  It  lives  on  worms  and  things  in  the  wa- 
ter. The  upper  mandible  is  curved  over  at  the  end  and  it  is  curved  over  on  the 
side  too,  so  that  the  lower  mandible  cannot  be  seen  at  all.  The  edges  of  the  bill 
are  very  sharp  so  that  it  can  crush  its  food.  There  are  four  rows  of  teeth  and 
in  each  row  there  are  twenty -seven  teeth  and  four  times  twenty-seven  are  one 
hundred  and  eight.  The  bird  has  two  little  holes  in  its  bill  which  are  called 
nostrils.  The  forehead  crown  hind  head  and  nape  are  black  but  the  back  and 
tail  are  of  a  little  lighter  color.  The  tail  feathers  are  short  and  pointed  at  the 
end.  The  chin  gonies  and  breast  are  black. 

His  feet  are  webbed.  It  has  four  toes  on  each  foot.  Between  the  toes  is  skin 
so  that  it  can  swim.  This  bird  is  almost  always  found  on  a  pond.  When  the 
duck  goes  to  swim  in  the  water  his  web  feet  push  the  water  back  and  then  he 
goes  as  nice  as  if  somebody  was  making  him  swim  along  with  a  stick.  The  wings 
are  long  and  there  is  a  large  white  spot  on  them.  The  feathers  on  the  tail  wings 
and  back  are  quill  feathers.  The  downy  feathers  are  all  on  the  breast  and  ab- 
ilmiH'u  ..nd  are  of  a  light  brown  color.  The  plumage  feathers  are  on  the  head. 
His  legs  are  short.  He  is  a  pretty  little  fellow  Just  as  though  he  was  doing 
nothing.  But  he  has  to  do  something.  He  has  to  get  his  food  and  feed  Us 
young. 

NUMBER  Two 

A  DESCRIPTION  OF  THE  HORSE. 

There  are  many  kinds  of  horses.    They  vary  in  color,  size  and  weight.    Some 

IK. !•-<••;  are  black,  some  white,  some  brown  and  others  are  of  a  reddish  color. 

-,  ;ir.-  ciillr,]  i|iia«Ini|M-iK   h<-c-;iu-;«'   tli--y  have   four  feet.     A  horse  Imn  a 

mam-  ami  a  tail.    The  tail  and  the  mane  are  not  always  of  the  same  color.    His 

ears  are  long  and  he  can  move  them  different  ways.    He  has  flne  glassy  eyes 


OBJECT  LESSONS. 

and  his  face  is  long.  His  teeth  are  large  and  white.  Some  men  can  tell  how- 
old  horses  are  by  their  teeth.  Some  horses  have  long  necks  and  some  have 
short  necks.  His  legs  are  long  and  thin.  He  does  not  step  on  his  feet  as 
we  do,  but  he  steps  ou  his  toes  and  we  call  them  his  hoofs.  The  horses 
hoofs  are  strong  and  you  can  drive  nails  in  them  without  hurting  him. 
Horses  have  iron  shoes  so  they  won't  wear  the  hoofs.  I  think  the  nails  are 
made  of  castiron.  The  horse  is  good  for  pulling  heavy  loads  and  for  driv- 
ing. If  a  man  has  a  heavy  a  load  one  horse  cannot  draw  it  alone,  so  three  or 
four  are  harnessed.  Sometimes  there  are  eight  horses  drawing  a  stone  team. 
Some  horses  are  easy  to  manage  and  some  are  very  hard  to  manage.  You 
have  to  feed  him  well  and  not  whip  him,  if  you  want  him  to  mind  you  and  not 
kick,  runaway  or  bite.  They  sometimes  damage  wagons  and  kill  people.  They 
will  run  over  persons  and  perhaps  the  people  die  or  are  crippled  for  life.  It  is 
always  best  to  use  a  horse  very  gently.  Horses  that  are  used  rudely  will  never 
leve  you,  as  one  whom  you  use  gently.  Horses  are  sometimes  used  as  pets  and 
when  they  die  they  are  bitterly  mourned.  A  horse  cannot  swim  as  a  man  can, 
because  he  has  not  got  the  reason  a  man  has.  But  God  has  given  animals  a 
reason  called  instinct.  A  horse  can  even  help  to  save  people's  lives.  When  a 
doctor  has  to  go  to  see  a  patient  who  is  very  ill,  the  horse  can  be  harnessed  and 
run  as  fast  as  he  can  and  the  doctor  can  save  the  person.  It  costs  a  great  deal 
of  money  to  keep  a  horse.  You  have  to  pay  tax  on  it,  shoe  it  and  buy  hay  and 
grain  for  it. 

NUMBER  THREE. 
THE  CHAIR  AND  THE  LADY. 

We  call  this  chair  an  arm-chair.  The  seat  is  softer  than  the  wooden  chair. 
The  seat  is  made  of  bamboo.  It  has  four  legs.  There  are  two  rungs  between 
each  leg  which  make  eight  rungs  in  all.  There  are  many  rings  in  each  rung. 
There  are  just  eight  rings.  Under  the  arms  are  smaller  rungs.  There  are  nine 
small  rungs  with  just  five  rings  on  every  one  of  them,  which  make  forty-five 
rings  in  all.  The  piece  in  the  back  is  wider  than  any  other  part,  with  a  hole 
large  enough  to  put  your  hand  in  so  as  to  carry  it  by.  The  two  front  legs  have 
six  rings  on  them.  But  the  back  legs  are  plain  without  the  rings.  The  lady 
that  sits  in  the  chair  has  a  red  dress  on  which  has  a  waist  and  a  skirt  to  it.  The 
waist  is  buttoned  in  front  with  ten  buttons.  Some  of  the  buttons  shade  two 
colors.  Her  hair  is  done  up  in  a  twist  and  twisted  round  three  or  four  times. 
It  is  crimped  and  hangs  down  on  her  forehead.  She  has  hazel  eyes.  The  color 
of  her  eye  brows  is  black.  When  she  laughs  she  shows  her  teeth.  She  has 
a  white  collar  on  her  neck.  She  is  writing  with  a  lead-pencil  in  a  book  and  her 
lead-  pencil  has  a  rubber  on  the  top  of  it.  Her  red  ring  is  on  her  right 
hand  and  when  she  writes  it  looks  pretty,  but  not  any  prettier  than  the  white 
one,  because  that  has  diamonds  and  diamonds  are  very  pretty  little  things 
indeed  and  are  in  many  other  rings  besides  hers.  When  the  wind  blows 


59°     THE   "QUINCY  METHODS*'  ILLUSTRATED. 

through  the  window,  it  blows  her  crimps  round.  Her  hair  hangs  down  on  her 
neck.  Her  hair-pins  are  falling  out.  The  two  that  are  falling  out  are  on  the 
top  of  her  hair. 

The  color  of  her  dress  is  red  and  it  is  trimmed  with  a  darker  shade  than  the 
ether  shade  is.  There  are  two  buttons  on  each  sleeve  and  the  cuffs  are  trimmed 
with  velvet.  These  buttons  are  not  like  the  ones  on  her  waist.  They  are  sewed 
on  with  cardinel  red  thread  and  it  is  more  like  the  color  on  her  dress,  than  like 
the  red  the  dress  is  trimmed  with.  She  has  a  velvet  sash  under  her  waist,  that 
shows  and  looks  very  pretty  indeed.  Her  skirt  is  very  long  indeed  and  there 
are  a  great  many  pleats  in  it  too.  There  are  over  one  hundred  pleats  in  the 
skirt.  It  is  pleated  all  the  way  round  to  the  back  of  it.  If  we  were  to  count 
them  we  would  find  it  hard  to  do  it  and  it  would  require  a  great  deal  of  pa- 
tience. Indeed  it  would  not  be  very  easy  to  count  them.  She  has  two  collars. 
One  is  white,  the  other  is  velvet  and  is  larger  than  the  white.  This  collar  is  very 
pretty  and  looks  nice.  She  has  her  pockets  trimmed  with  velvet.  There  are 
eight  buttons  behind,  between  her  two  pockets  on  her  waist.  Her  sleeves  are 
long  and  her  white  cuffs  do  show.  Her  shoes  are  black.  The  upper  part 
is  cloth  and  not  very  easy  to  tear.  There  are  no  buttons  on  her  sho^s  and 
they  are  soft  for  the  feet  and  don't  hurt  the  feet  I  think  and  perhaps  she  thinks 
so  too.  Her  waist  looks  as  though  it  was  cut  off  at  the  bottom  and  that  is 
what  shows  her  velvet  sash  and  makes  it  look  pretty.  She  holds  her  pencil 
pointing  over  her  shoulder,  as  she  would  hold  her  pen,  with  the  two  first  fin- 
gers on  the  pen  and  the  other  two  for  runners.  Sometimes  she  writes  fast 
because  she  is  in  a  hurry.  Her  ring  is  kind  of  loose  on  her  finger  and  when  she 
writes  it  slips  up  and  down.  She  never  had  her  ears  bored  at  all,  nor  never 
wore  ear-rings,  because  her  ears  are  not  bored.  Sometimes  she  is  talking. 

NUMBER  FOUR. 

THE  BATTLE. 

The  battle  is  in  the  battle  field.  It  is  in  winter  in  the  picture  and  the  mow 
has  drifted  very  high.  One  of  the  men  in  the  army  on  the  right  side  of  the 
wood  is  falling  down  to  the  ground.  On  the  left  side  of  the  wood,  there  is  a  man 
with  a  sword  and  one  of  the  men  is  up  to  him  and  I  think  he  will  strike  him 
with  liis  gun.  One  man  is  trying  to  lift  the  other  man  up  that  was  shot.  The 
dead  man  has  a  sword  in  his  right  hand.  One  of  the  men  is  going  to  fire  his 
gun  at  the  other  man  that  has  fired  at  him,  but  did  not  hit  him.  One  man 
has  his  hand  on  his  head  and  I  think  he  is  wounded.  They  all  have  a  bag  for 
their  powder,  hanging  to  their  belt,  so  it  will  be  handy  for  them  to  load  their 
guns.  They  all  have  funny  caps  on  their  heads.  One  man  has  a  cross  on  his 
arm.  They  all  have  something  buckled  to  their  shoes,  so  they  will  not  slip  on 
the  ice.  Some  of  the  men  have  buttons  on  their  sleeves  and  have  very  short 
pants  that  are  buttoned  below.  It  says  under  the  picture  "  The  Battle  of  SIs- 
tova.*  Some  of  the  men  are  almost  burried  in  the  snow-drifts.  One  man  is 


OBJECT  LESSONS.  59 1 

trying  to  get  up  and  has  hold  of  another  man's  belt.  At  night  the  men  will  go 
to  their  tents.  There  is  a  cask  of  powder  in  the  wood.  One  man  there  is  dead 
and  he  has  no  hat  on  his  head.  The  men  in  the  army  on  the  right  side  have 
ribbon  hanging  from  their  hats.  The  men  have  not  very  tall  shoes.  One  man 
is  laid  on  the  snow  near  the  powder,  I  think  the  man  with  a  sword  has  killed 
him.  Two  of  the  men  have  something  tied  around  their  jackets  like  a  scarf. 
The  men  have  long  stockings  on.  The  color  of  the  pants  and  jackets  are  of  a 
dark  black.  One  man  has  a  belt  from  one  of  his  shoulders  and  buckled  down 
on  his  waist.  A  little  way  from  the  place  where  the  battle  is,  there  is  a  large 
stone  post  down  in  the  ground.  There  are  two  or  three  houses  not  far  from  the 
battle-field.  In  the  army  on  the  left  side,  there  are  three  men  killed  and  two 
are  wounded  very  badly.  They  have  a  little  bag  to  carry  their  shot  in.  Some 
days  they  do  not  get  any  dinner  and  get  very  little  for  their  supper.  One  of 
the  men  that  is  wounded  has  curly  black  hair,  I  think  he  is  an  negro.  The  dead 
man  has  a  short  red  moustache. 

NUMBER  FIVE. 

THE  BEAR  AND  THE  MAN. 

One  day  a  man  who  was  travelling  through  a  forest  was  very  tired,  so  lie 
thought  he  would  take  a  nap.  He  took  his  hat  off  his  head  and  his  gun  off  his 
shoulder  and  laid  them  down  by  his  side.  He  was  not  asleep  long  when  he 
heard  something  rushing  through  the  bushes.  He  looked  up  and  there  he  saw 
a  large  black  bear.  The  gun  was  not  loaded  and  he  did  not  know  what  to  do. 
He  climbed  up  the  tree,  but  that  was  of  no  use,  the  bear  climbed  up  after  him. 
The  man  was  in  awful  fright.  He  broke  a  branch  off  the  tree  and  poked  the 
bear,  but  he  did  not  mind  the  pokes.  At  length  the  man  jumped  from  the  tree. 
While  the  bear  was  looking  around  him  to  see  where  the  man  was,  he  had  his 
gun  loaded,  shot  the  bear  and  dragged  it  through  the  forest  to  sell  the  skin. 
As  he  was  about  to  go  into  the  store,  he  met  some  men.  He  stopped  to  tell 
how  he  killed  it.  At  last  one  of  the  men  said,  "  I'll  give  you  five  dollars  for  the 
bear."  "  He  is  a  very  big  one  said  he,"  "  You  may  have  him."  When  he  got 
home  and  told  his  story,  they  said,  "The  bear's  money  will  get  a  great  many 
things." 

NUMBER  Six. 

WHAT  I  AM  THINKING   ABOUT. 

I  am  thinking  about  a  colt.  The  color  of  the  colt  is  bay.  He  is  a  favorite 
horse  and  his  name  is  Tommy.  He  has  a  white  face  and  brown  eyes.  Two  of 
his  feet  are  white  and  two  are  black.  We  raised  him  from  a  very  young 
colt  and  we  have  had  him  ever  since.  Last  summer  we  all  went  down  to  the 
beach  and  we  took  Tommy  with  us  so  we  could  go  out  to  ride.  The  first  or 
second  day  we  were  down  there,  he  got  loose  and  ran  way  up  to  the  centre  of 


592     THE   "QUINCY  METHODS"  ILLUSTRATED. 

the  town.  My  uncle  was  in  the  town  and  saw  him  and  caught  him.  He 
asked  somebody  for  a  rope  and  they  gave  him  one.  My  uncle  brought  him  to  us 
and  we  were  very  glad.  He  will  let  you  pat  him  as  much  as  you  like.  A  little 
while  after  our  uncle  brought  Tommy  there,  my  father  and  uncle  Charlie  came 
down.  They  did  not  know  any  thing  about  it.  We  thought  perhaps  he 
went  home  and  they  would  bring  him  down.  Tommy  never  ran  away  before 
but  being  down  to  the  beach  he  did  not  like  it.  He  used  to  have  a  nice  long  tail 
but  now  it  is  very  thin  and  short.  He  is  twenty-two  years  old  but  yet  he  is  very 
small.  If  we  go  down  to  the  beach  next  summer,  I  suppose  that  he  will  go  and 
help  carry  the  things  in  the  carryall.  I  think  he  is  a  very  nice  horse  and  all  the 
other  folks  think  a  great  deal  of  him.  Sadie  drives  him  and  does  not  drive  any 
other  horse.  He  belongs  to  my  grandma  now  and  she  drives  him  all  the  time. 
Tommy  was  owned  by  my  grandpa  first.  He  goes  over  to  the  depot  every  night. 


CHAPTER  VII. 

A  LESSON  IN  ARITHMETIC. 

PURPOSE  OF  THE  LESSON.— To  teach  the  form  of  written 
multiplication. 

PREPARATION  MADE  BY  THE  TEACHER.— Devising  the  manner 
of  presenting  the  new  point,  and  studying  out  the  various 
ways  of  expressing  multiplication. 

PREPARATION  MADE  BY  THE  PUPIL S.  —All  that  they  know 
of  Number,  and  all  the  work  that  they  have  done  with 
figures. 

PLAN  OF  THE  LESSON.— First-,  for  review  and  rapid  calcu- 
lation; send  the  children  to  the  board,  give  them  six  prob- 
lems, have  them  write  both  statement  and  answer,  and 
then  add  all  the  results  together.  Second ;  to  introduce  the 
advance  lesson ;  call  upon  the  pupils  to  place  six  times  three 
are  eighteen  upon  the  board,  in  as  many  different  ways  as 
they  can.  [Mem.  supply  what  they  do  not  give.]  Third ;  to 
teach  the  advance  lesson.  Begin  by  taking  4  x  24  =  96,  and 
have  the  class  perform  the  problem  with  me,  by  addition 
and  then  by  multiplication,  and  call  attention  to  the  econ- 
omy of  the  latter.  Bring  in  numeration,  illustrated  with 
splints,  to  make  sure  that  the  children  all  understand  that 
part  of  the  work.  Then  find  7x14  by  both  processes. 
Finally  let  the  pupils  perform  3  x  16  =  48  both  ways,  if  they 
can, — if  not,  help  them  through. 


$94     THE   "  QUINCY  METHODS"  ILLUSTRATED. 


THE  LESSON. 

"The  first  division  may  write  all  that  you  can  think  of 
about  islands,  and  if  you  need  to  use  a  word  which  you 
don't  know  how  to  spell,  draw  a  line  in  its  place,  and  when 
I  can,  I  will  come  and  write  it  for  you  on  the  board, "  is  the 
quietly  spoken  direction  which  sets  two  rows  out  of  the 
five,  in  this  B  Primary  room,  to  working  straightway, — 
like  what  their  teacher  often  calls  them  "  Busy  B's." 

"The  second  division  face!  rise!  pass  to  the  blackboard 
ready  for  a  Number  lesson,"  is  the  mandate  which  puts  the 
remaining  three  rows  into  the  proper  attitude  of  body  and 
mind,  for  the  teacher's  succeeding  sentence,  that  follows 
without  pause;  "You  are  to  write  these  problems  all  out, 
and  let  me  see  how  fast  you  can  work.  Nine  nines. — Six 
sevenths  of  forty-two.— Eighty -four  less  nine. — Five  eights. 
— Quicker  children!  Sixty-five  less  eight.— Four  elevenths 
of  eighty-eight. — Patrick,  read  your  column." 

The  boy  reads  rapidly,  what  he  has  written,  while  the 
rest  examine  their  work  to  see  if  they  agree. 

"  Add  the  answers,"  is  the  next  requirement,  immediately 
obeyed.  "  What  is  the  sum,  Annie  ?" 

41  Three  hundred  and  twenty-one." 

"Right!  Clear  the  boards  and  take  your  seats,— all  but 
Allen,"  excepts  the  teacher,  turning  toward  a  child,  who 
lias  taken  it  upon  himself  to  rub  over  again — very  particu- 
larly—all the  blackboard  in  his  immediate  vicinity. 

"  Lay  down  the  eraser,  and  write  for  me  six  threes  with 
the  answer." 

He  makes  the  characters, — 6x3  =  18  and  at  a  sign  from 
the  teacher,  passes  at  once  to  his  place  with  the  rest  of  the 
class. 

1  *  Sophie  may  write  the  same  thing  in  another  way. "  3x6 
so  far  the  girl  gets  when  the  teacher  interposes :  "  No,  Sophio, 
that  has  nothing  to  do  with  six  threes ;  it  is  an  entirely  dif- 


A   LESSON  IN  ARITHMETIC.  595 

ferent  thing."  Then  as  the  girl  turns  to  go,  the  teacher 
adds,  "  Come  back  and  erase  your  work;  when  you  do  any- 
thing wrong,  never  leave  it  on  the  board.  Bennie,  you  may 
try." 

Bennie  places  ///  ///  ///  ///  ///  ///  upon  the  board,  and 
walks  off. 

"That  is  very  nice.  Who  can  think  of  another  way? 
Amy." 

This  child  ciphers  for  a  second  or  so,  but  as  she  stands 
directly  in  front  of  her  figures,  no  one  can  see  what  she  is 
doing,  except  that  she  presently  rubs  something  out,  where- 
upon the  teacher  reproves, — 

"  I  don't  like  to  have  you  use  the  eraser;  do  it  right  the 
first  time." 

When  Amy  leaves  the  board,  she  leaves  this  upon  it :  Six 
figure  threes  placed  in  a  vertical  column,  with  a  line  be- 
neath, and  eighteen  set  as  the  sum. 

"Eight!"  pronounces  the  teacher.  "Who  is  ready  to 
show  us  another  ?  Bridget." 

6  3's  =  18  is  her  thought. 

"Very  well,"  comments  the  teacher;  then  as  no  hands 
are  to  be  seen  she  tries  to  send  them  up  by  saying,  ' '  I  know 
one  other  way." 

This   brings  out    Clarence,   who  puts  on  the  board,  - 
3  +  3  +  3  +  3  +  3  +  3  =  18. 

"That's  right.     Can  we  think  of  any  other  ?    Helen." 

The  last  named  begins  to  do  this  ///  but  is  stopped  by 
the  teacher  with  the  objection,  —  "That  isn't  a  different 
way,  Helen,  it  is  only  a  different  placing." 

Joseph  thinks  that  he  has  an  idea,  and  being  called  upon, 
goes  to  the  board,  and  makes  ?  accompanying  the  sign  with 
a  look  toward  the  teacher  which  matches  his  mark,  but 
speaks  no  word. 

"You  may  write  it  out,"  consents  the  teacher,  which  he 
does  thus:  ?  +  3  =  18. 


596     THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"  Children,  has  he  written  six  threes  equal  eighteen?" 

"  No'm,"  is  the  unanimous  verdict. 

"  Lina,  read  what  he  has  set  down." 

"  How  many  threes  equal  eighteen?"  is  her  response. 

"Do  all  these  that  are  written  on  the  board  mean  the 
same  ?" 

Unthinking  chorus :  '  *  Yes'm. " 

Thoughtful  solo:  "No'm." 

"Well,  Tom?" 

"  That  last  doesn't,"  insists  Tom. 

"Right,  my  boy.  Have  I  only  one  thinker?  I'll  give 
the  rest  of  you  another  chance.  Are  those  on  the  board  all 
written  alike  ?" 

"No'm!"  "Some  are  longer!"  "Some  are  shorter!"  is 
the  confused  answer. 

"  Which  are  the  shortest,  class  ?" 

"  Allen's  and  Bridget's." 

"You  may  all  put  this  upon  your  slates,"  permits  the 
teacher,  moving  to  the  blackboard,  and  placing  upon  it  four 
twenty -fours  one  under  the  other,  as  if  for  addition.  "  How- 
many  twenty-fours  have  I  here  ?" 

"Four!"  reply  the  division. 

"  How  many  figure  fours  ?" 

"Four!" 

"  And  how  many  figure  twos  ?" 

"Four!" 

"Four  what?" 

"Four  figures!" 

"Lottie,  come  to  the  board  and  add  these  for  us." 

"Four,  eight,  twelve,  sixteen,"  says  the  child,  running 
up  the  right-hand  column  with  eye  and  mind.  "I  write 
the  six,"  putting  it  in  its  place,  "and  remember  the  one." 
"Two,  four,  six,  eight,"  she  continues,  looking  at  the  left- 
hand  line  as  she  talks;  "and  the  one  I  remembered  is  nine; 
I  write  the  nine." 


A    LESSON  IN  ARITHMETIC.  S97 

"  How  many  did  you  find  in  the  right-hand  column  ?" 

"  Sixteen." 

"John,  please  take  my  box  of  splints  out  of  the  lower 
drawer,  and  set  it  on  the  table.  Nellie,  go  and  show  me 
with  the  splints  what  Lottie  wrote." 

Nellie  steps  lightly  to  the  table,  takes  from  the  box,— as 
John  politely  lifts  the  cover, — six  splints  and  holds  them  up. 

"Keep  them,  and  stay  where  you  are,"  is  the  teacher's 
request. 

"  Luke,  show  us  what  Lottie  remembered." 

The  lad  unhesitatingly  picks  out  ten,  and  presents  them 
to  view. 

"But  Lottie  said  that  she  remembered  one,"  protests  the 
teacher. 

Quick  as  thought  Luke  drops  his  ten,  snatches  up  a  bun- 
dle of  ten  splints  tied  together,  and  with  a  roguish  smile 
announces,  "Here  it  is!" 

"  One  what,  class  ?"  interrogates  the  teacher,  motioning 
the  boy  to  remain  at  the  table. 

"  One  ten!"  is  the  confident  chorus. 

"Kittie,  show  us  with  splints  what  Lottie  found  in  the 
left-hand  column." 

It  takes  both  the  dimpled  hands  to  hold  the  eight  bundles 
of  ten  splints  each,  that  their  owner  displays  to  the  class. 

"  What  shall  we  do  now,  Ned  ?" 

"  Put  Luke's  with  them." 

"  And  we  shall  have  how  many,  children  ?" 

"  Ninety !"  is  the  sudden  brief  response. 

"You  may  do  so,  Ned.     What  did  you  get,  Lottie  ?" 

"Ninety-six." 

"  Why  do  we  have  only  ninety  splints  ?    Aggie." 

"  Because  we  haven't  put  Nellie's  with  the  rest." 

"To  be  sure.  Hand  them  over,  Nellie.  Now,  Ned,  you 
have-" 

"Ninety-six,"  decides  that  youth  promptly. 


THE    "  QUINCY  METHODS"   ILLUSTRATED. 

"You  may  all  take  your  seats.  How  many  figures  did 
Lottie  use  in  doing  her  problem,  Nat  ?" 

"  Ten,"  is  the  instant  answer. 

"I  am  going  to  show  you  a  shorter  way.  How  many 
twenty -fours  were  there,  Lina  ?" 

"Four,"  reports  the  girl. 

The  teacher  places  upon  the  board  this  form, — 

24 
4 

while  all  the  small  mathematicians  look  on  and  learn. 

"  How  many  fours  were  there,  Horace  ?" 

"Four." 

"  And  four  fours  are — " 

"  Sixteen;"  affirms  Horace. 

"  What  did  Lottie  do  with  her  sixteen,  Guy  ?" 

"  She  put  down  the  six  and  remembered  the  one." 

"  That's  just  what  I  am  going  to  do,"  informs  the  teacher, 
placing  the  six  as  the  first  figure  of  the  product.  "Four 
twos  are — Mary  ?" 

"Eight." 

"  And  the  one  you  remembered,  makes—" 

"Nine,"  adds  the  girl. 

"Yes,  and  I  write  it  here,"  suiting  the  action  to  the 
speech.  "  How  many  figures  did  I  use,  Nannie," 

"Five." 

"  How  many  less  than  Lottie  ?" 

"Five,"  reckons  Annie. 

"Well,  Charley?" 

"  Just  half  as  many." 

"  Which  way  do  you  like  best,  yours  or  mine  ?" 

"Yours,"  declare  the  division,  without  a  dissentient 
voice. 

"  Very  well;  I'll  perform  another  example,  and  then  you 
may  try.  Jamie,  make  me  seven  fourteens  one  under 
Another,  on  the  board." 


A   LESSON  IN  ARITHMETIC.  599 

When  this  has  been  done,  the  teacher  questions,— looking 
over  her  wide-awake  class,  each  eager  to  master  the  ' '  new 
way;"  "  This  is  a  column  of  what,  Norah  ?" 

"  Fours." 

Several  hands  are  flung  up  at  this  juncture,  and  Mabel 
being  given  permission  to  speak,  contends,  "  I  think  it's  the 
column  of  ones." 

"So  it  is,"  grants  the  teacher;  "but  it  is  made  up  of 
what,  Mabel  ?" 

"  Fours,"  admits  the  objector. 

"  How  many  fours  are  there,  Phil  ?" 

"  Seven,  and  seven  ones,"  volunteers  the  speaker. 

"Add,  Lucia," 

"Four,  eight,  twelve,  sixteen,  twenty,  twenty-four, 
twenty-eight, "  sums  up  the  maid ;  ' '  put  down  twenty -eight." 

The  hands  rustle  up  like  a  flight  of  sparrows. 

"  What's  the  matter,  children  ?" 

"That's  wrong!"  "She  shouldn't  do  it!"  "Put  down 
only  the  eight!"  "That  isn't  right!"  and  various  other 
phrases  show  the  "  sense  of  the  meeting." 

The  girl  has  corrected  herself  before  the  teacher  turns  to 
her,  by  putting  only  the  eight  below  the  line,  and  stands 
waiting  for  further  direction. 

"What  became  of  your  twenty  ?"  inquires  the  teacher. 

"  I  am  going  to  remember  it,"  notifies  Lucia. 

"  That's  better;  go  on." 

"  One,  two,  three,  four,  five,  six,  seven,  nine,"  adds  Lucia 
aloud,  placing  the  nine  where  it  belongs. 

"That  will  do,"  dismisses  the  teacher.  "What  is  the 
answer,  class  ?" 

"Ninety-eight." 

"Who  will  be  ready  first,  to  tell  me  how  many  figures 
Lucia  used?  Mike." 

"Sixteen,"  specifies  the  young  man,  who  was  evidently 
pn  the  lookout  for  this  query. 


600     THE   ' '  Q  UINC  Y  ME  THODS  "   ILL  USTRA  TED. 

11  How  many  fourteens  did  we  have  ?    Sophie." 

4 'Seven." 

"  And  how  many  fourteens  have  I,  John  ?"  catechises  the 
teacher,  as  she  places  fourteen  upon  the  board  near  Lucia's 
work. 

"  One,"  reports  the  lad  instantly. 

"How  many  now?"  persists  the  teacher,  placing  the 
figure  seven  as  multiplier,  and  drawing  a  line  beneath. 

"I  don't  know,"  acknowledges  John  as  unhesitatingly  as 
before. 

"  Can  you  tell  mo,  Annie  ?" 

"  Seven,"  is  her  ready  inference. 

"  Yes.    How  many  fours  have  I  ?    Bridget." 

"  Seven." 

"  And  four  sevens  are, — 

"  Twenty-eight,"  supplies  Bridget. 

"I  will  write  the  eight,"  states  the  teacher;  "and  re- 
member the  two,"  setting  the  figure  eight  in  its  place. 
"  How  many  ones  have  I,  Allen  ?" 

"Seven." 

"And  seven  ones  are,— Kittie?" 

"Seven  and  the  two  you  were  to  remember  make  nine," 
goes  on  the  interested  Kittie,  before  the  teacher  can  speak. 

Accordingly  she  writes  the  last  figure  of  her  product  (9) 
at  the  left  hand,  and  interrogates,—"  Have  we  the  same 
answer  that  Lucia  had?" 

"  Yes'm,"  agree  the  pupils. 

"Read  it!"  which  they  do.  "How  many  figures  did  I 
use,  children?" 

Chorus:  "Five!" 

"  And  Lucia  had— " 

"Sixteen,"  conclude  the  division. 

"  Then  she  had  how  many  more  than  I?" 

"Eleven,"  calculate  the  class. 

"Which  do  you  think  is  the  better  way,  Lucia's  or  mine?" 


A   LESSON  IN  ARITHMETIC.  6oi 

"Yours!"  comes  in  emphatic  Concord. 
* '  I  am  looking  for  some  one  to  put  another  problem  on 
the  board.     Helen,  come  and  write  three  sixteens." 
This  is  the  way  the  young  woman  places  her  numbers,— 

16 
16 
16 

"  What  shall  she  do  now,  Lena?" 

"  Draw  a  line  and  add  the  ones'  column." 

"  Talk  it,  Helen,"  requires  the  teacher,  as  the  child  seems 
to  be  performing  the  addition  silently. 

' '  Six,  twelve,  eighteen, "  says  Helen. 

"  Tell  her  what  to  do,  Patrick." 

"Set  down  the  eight  and  remember  the  one,"  dictates 
that  juvenile  glibly.  The  girl  obeys. 

"Nellie,  what  next?" 

"The  tens  column." 

"You  may  add  it." 

"One,  two,  three,  and  the  one  she  remembered  make 
four,"  asserts  Nellie. 

"The  next  thing,  Clarence." 

"Write  the  four." 

"And  the  answer  is, — class?" 

"Forty-eight!"  comes  the  lusty  chorus,  as  Helen  passes 
to  her  place  in  the  division. 

"Now  who  would  like  to  try  to  do  a  problem  the  new 
way,  on  the  board?" 

Everybody  is  eager,  but  Bennie  is  chosen,  and  told   to 

1  c 
write  three  sixteens.     He  does  it  thus :     Jj 

"Very  well,"  encourages  the  teacher,  as  the  boy  comes 
to  a  stand-still.  "Now  draw  a  line  and  begin.  What  first, 
Ned,"  she  calls  hastily,  as  Bennie  hesitates;  "can  you  help 
him?" 

' '  Yes'm, "  assures  Ned ;  * '  you  do  just  the  same  as  the  long 
way;  you  get  three  sixes." 


602      THE   "QUINCY  METHODS"   ILLUSTRATED. 

uNow  I  know!"  exclaims  Bennie.  "Three  sixes  are 
eighteen,  and  I  put  it  here, "  beginning  to  make  the  figure 
1  of  the  18,  but  the  flutter  of  ascending  hands  behind  him, 
causes  him  to  turn  as  the  teacher  names  Amy,  who  instructs 
che  worker  at  the  board,— 

"You  must  remember  the  one,  and  set  down  only  the 
eight." 

This  Bennie  does,  and  having  his  cue,  hastens  to  recite,  — 
"Three  ones  are  three,  and  the  one  I  remembered  make 
four.  I  write  the  four,"  which  he  does,  at  the  left  of  the 
figure  8,  and  walks  off  to  his  seat,  quite  proud  of  his 
achievement. 

"Class,  here  is  a  column  for  you  to  add  quickly.  Let 
me  see  who  will  get  it  done  first.  When  you  have  the  an- 
swer, stand!" 

So  saying,  the  teacher  writes  rapidly  upon  the  board  in  a 
vertical  line,  the  following  numbers:  37,  653,  297,  845,  734, 
63,  856,  473,  45. 

Having  thus  provided  these  pupils  with  employment,  she 
passes  across  the  schoolroom  to  her  other  Busy -Workers, 
and  spells  their  unwritten  words  for  them  upon  the  board, 
meanwhile  keeping  a  careful  watch  both  of  the  clock  and 
her  adders  in  the  second  division.  By  the  time  there  are  a 
dozen  standing,  she  has  attended  to  the  writers,  a  few  of 
whom  have  nearly  finished,  and  has  taken  her  place  beside 
the  table  at  the  front.  Now  follows  this  announcement. 
"When  the  first  division  have  told — with  their  pencils— all 
that  they  can  think  of  about  islands,  and  have  written  their 
names  very  handsomely  at  the  end,  they  may  bring  their 
slates  to  my  table.  Those  of  the  second  division,  who  have 
found  the  sum  of  the  column  of  numbers  I  gave,  may  come 
to  me  by  rows :  the  third  row  first,  then  the  second,  and  so 
on." 

Immediately  the  three  who  are  standing,  slates  in  hand, 
in  the  designated  line  step  forward  and  surround  the 


A   LESSON  IN  ARITHMETIC.  .     603 

teacher,  who  with  an  instant's  glance,  and  a  low  "Right, 
you  may  go  home;"  or  "  Wrong,  try  it  again,"  sends  them 
hack  to  their  seats ;  the  careful  workers  to  lay  their  slates 
and  pencils  inside  their  desks,  and  pass  noiselessly  out  of  the 
room ;  the  careless  to  sit  down  and  search  for  the  error  in 
their  calculation. 

Meantime,  members  of  the  first  division  are  bringing  to 
the  teacher's  table  their  essays  upon  islands,  which  they  lay 
in  a  pile  upon  the  right-hand  corner,  and  receiving  a  word 
or  gesture  of  dismissal  from  the  teacher,  are  passing — one 
by  one— out  through  the  open  door,  into  the  silent  hall, 
where  snatching  from  the  nails  their  hats  or  caps,  they 
skim  softly,  swiftly  down  the  stairs,  and  are  gone,  though 
it  yet  lacks  three  minutes  of  twelve  by  the  clock.  At  two 
minutes  past,  every  young  arithmetician  has  disappeared ; 
and  all  the  small  geographers  have  vanished,  leaving  how- 
ever, most  substantial  tokens  of  their  presence  in  the  pile  of 
slates,  which  the  teacher  is  now  engaged  in  speedily,  but 
scrupulously  examining. 

To  her,  abruptly  enters  a  teacher  from  the  floor  below, 
having  in  hand  two  boys,  whose  faces  are  very  red,  and 
whose  expression  is  that  of  conscious  guilt. 

"  Miss  E.,"  announces  the  new-comer;  "I  am  sorry  to  say 
that  I  found  these  boys  of  yours  marking  the  front  steps 
with  colored  crayons.  I  thought  I'd  better  bring  them 
right  to  you." 

"Thank  you,  Mrs.  C.,"  responds  the  B  Primary  teacher 
wearily;  "  I  will  attend  to  the  matter,"  and  she  is  left  alone 
with  the  young  culprits. 

Laying  down  the  slate  she  is  holding,  the  teacher— whose 
countenance  has  grown  very  grave  in  the  last  ten  seconds, 
but  who  shows  no  sign  of  either  anger  or  impatience — sits 
still  and  silent,  looking  steadily  at  these  disturbers  of  her 
peace,  as  if  studying  what  she  should  do;  while  they 


604     THE    "QUINCY  METHODS"   ILLUSTRATED. 

stand  with  drooping  heads  and  downcast  eyes,  very  much 
ashamed  and  a  little  afraid. 

Suddenly  the  teacher  rises,  and  with  a  low-spoken 
"Come  with  me,"  leads  the  way  to  the  scene  of  action. 
Pausing  in  the  doorway,  she  turns  toward  the  boys,  and 
questions,  "What  have  you  been  doing,  Ernest?" 

"I  did  that,"  confesses  the  boy  slowly,  pointing  to  a  large 
patch  of  green  defacing  the  clear,  clean  gray  of  the  granite 
slab,  that  forms  the  upper  step. 

"And  you,  Willard?"  catechises  the  teacher. 

"I  did  the  other  one,"  is  his  straightforward  acknowl- 
edgment, indicating  a  spot  of  dark  brown  the  step  below. 

"How  came  you  to  do  this?"  is  the  next  inquiry,  ad- 
dressed to  both  the  boys,  and  delivered  with  a  tone  and 
manner  that  is  perfectly  unimpassioned. 

"We  thought  we'd  make  some  islands,"  explains  Willard 
reluctantly. 

"  How  came  you  to  make  them  on  the  door-steps?"  plac- 
idly persists  the  teacher. 

"Because,"  continues  Willard,  who  seems  to  be  the 
spokesman;  "  we  played  they  were  the  ocean." 

"Well,"  queries  the  teacher  still  calmly  judicial,  "are 
you  going  to  leave  our  front  steps  looking  like  that?" 

This  suggests  a  new  view  of  the  subject  under  considera- 
tion, for  which  the  delinquents  are  evidently  quite  unpre- 
pared; accordingly  no  one  speaks  but  the  teacher,  who 
coolly  answers  her  own  question  by  saying,  "I  think  they 
had  better  come  off,  don't  you?" 

There  is  but  one  reply  to  be  made,  and  that  they  give, 
though  they  are  too  good  thinkers  not  to  see  the  drift  of  the 
logic  in  this  conversation,  and  therefore  are— in  a  measure- 
prepared  for  the  teacher's  serenely  spoken  conclusion.  "  I 
will  let  you  take  it  off." 

Easier  said  than  done,  think  the  two  island-makers,  who 
stare  at  the  blotches  of  green  and  brown  with  a  sense  of 


A   LESSON  IN  ARITHMETIC.  60$ 

dismay,  as  they  remember  how  hard  they  rubbed  the  color 
in.  How  could  they  get  it  out?  Presently  Willard  has  an 
idea,  and  proceeds  to  put  it  into  execution.  He  pulls  out  of 
his  pocket  a  bit  of  a  handkerchief,  crumpled  and  soiled 
almost  beyond  recognition,  and  starts  to  rub  the  step  with 
it.  This  suggests  something  to  Ernest,  who  proposes  with 
a  glance  of  inquiry  toward  the  teacher, — 

"  111  go  get  my  slate-cloth." 

"Put  that  back  in  your  pocket,  Willard,"  is  her  calm 
decree.  "Wait,  Ernest.  If  you  go  into  the  basement,  you 
may  find  something  that  you  can  clean  those  off  with."  .. 

"  What  shall  we  get?"  asks  Willard  instantly,  glad  of  any 
appearance  of  aid  or  sympathy,  from  his  usually  kind  and 
genial  instructor. 

But  her  chilly — "What  do  you  wish?"  throws  him  back 
upon  himself,  both  emotionally  and  intellectually;  and  he 
has  to  stop  a  moment  to  recover  his  spirits  and  his  wits, 
before  he  can  think  to  say, — 

* '  I  guess  I  could  do  it  with  a  broom. " 

"You  may  go  and  get  one,"  permits  the  teacher;  and  as 
Ernest  does  not  move,  she  adds,—"  both  of  you." 

They  hurry  off;  scamper  down  the  long,  dark  stairway, 
arid  grope  around  in  the  twilight  of  the  basement,  trying  to 
discover  what  they  came  for;  talking  all  the  while  in  low 
tones,  speculating  whether  the  teacher  will  whip  them  when 
they  have  cleaned  off  the  steps.  One  broom  is  easily 
found,  and  after  some  search  they  come  across  another, 
then  hasten  back  to  the  waiting  impersonation  of  justice, — 
the  teacher,  standing  silent  and  statue-like  upon  the 
threshold. 

Then  they  begin  to  sweep  or  rather  brush  with  the 
brooms,  but  they  make  little  impression;  only  the  loose 
dust  comes  off,  the  colors  are  as  deep  as  ever.  Perceiving 
this,  they  glance  up  at  the  teacher,  but  she  makes  no  sign 
and  they  go  on  brushing. 


606     THE    ' '  Q  UINC  Y  ME  THODS  "   ILL  US  TRA  TED. 

Finally  Willard  has  a  happy  thought,  and  speaks  it  out 
impulsively ;  "I  wonder  if  it  wouldn't  come  off  better  if  it 
was  wet?" 

"It  might,"  is  their  overseer's  non-committal  reply. 

"May  we  try?"  meekly  petitions  the  small  sweeper. 

"Yes,  "consents  the  teacher,  without  a  particle  of  either 
interest  or  friendliness  in  face,  voice,  or  manner. 

It  is  serious  business  for  the  two  sorry  little  men,  and  the 
watching  teacher  can  scarcely  suppress  a  smile  at  the  for- 
lorn fashion  in  which  they  march  off  dragging  their  brooms 
behind  them,  to  the  pump,  where  one  holds  the  broom 
while  the  other  wields  the  pump-handle.  Evidently  they 
are  getting  slightly  desperate,  for  all  of  this  has  taken  time, 
and  it  is  now  fully  a  quarter  past  twelve ;  besides  the  day  is 
warm,  and  there  being  only  a  narrow  porch,  the  hot  sun 
pours  directly  down  upon  their  defenceless  heads.  So  they 
set  to  scrubbing  with  all  their  small  might  and  main,  and 
under  the  combined  influence  of  muscle  and  water,  the 
brown  and  green  begin  to  fade  away. 

"How  did  it  happen  that  one  of  you  made  your  island 
green,  and  one  brown?"  questions  the  teacher,  curious  to 
know. 

The  children  detect  the  interest  instantly,  and  begin 
eagerly  to  talk,  both  at  once.  This  is  confusing,  but  the 
teacher  manages  to  make  out  that  Ernest  said  that  islands 
were  green,  because  Long  Island  and  Deer  Island*  were 
green.  But  Willard  maintained  that  islands  were  made  of 
land,  and  land  was  brown ;  besides,  the  islands  they  made 
on  the  moulding-board  were  brown. 

The  steps  are  beginning  to  resume  their  original  color, 
and  the  boy-scrubbers  are  slackening  their  efforts.  But  the 
Nemesis  of  the  schoolroom  is  not  satisfied ;  the  punishment, 
she  judges,  has  not  yet  balanced  the  offence;  accordingly 
she  mentions  casnnlly, 

*  These  are  to  l»e  so<>n  from  several  of  the  schoolrooms  of  Quincy. 


A   LESSON  IN  ARITHMETIC.  60? 

' '  There  is  considerably  more  to  come  off  yet ;  it  shows 
very  plainly  from  here. " 

The  ruddy  young  faces  upon  which  the  perspiration 
stands  in  large  drops,  grow  very  long  at  this,  in  spite  of 
their  chubbiness,  and  the  brooms  are  plied  with  redoubled 
energy  till  the  short  arms  ache  with  the  unaccustomed  ex- 
ercise. After  about  ten  minutes  of  steady  scrubbing,  the 
boys  stop  and  stand  upright,  to  look  at  the  result ;  where- 
upon the  teacher  states  with  great  decision,  but  no  irrita- 
tion,— 

"  I  must  have  them  cleaned  better  than  that;  look  closer, 
you  can  find  more  that  has  to  come  off." 

Poor  little  fellows!  hot,  tired,  and  hungry,  they  begin  to 
feel  as  if  they  had  fallen  into  the  clutches  of  a  merciless, 
implacable  monster,  and  will  never  get  out.  Completely 
discouraged,  they  stoop  down  to  search  anxiously  for  more 
brown  and  green  to  wash  off,  but  finding  their  eyesight 
getting  misty  and  dim :  and  being  too  big  and  too  proud  to 
cry,  they  dash  away  the  tell-tale  drops  and  work  on  dog- 
gedly; while  their  task-master,  unmindful  apparently  of 
time,  forgetful  seemingly  of  dinner,  is  to  all  intents  and 
purposes,  completely  absorbed  in  searching  for  specks  of 
color  upon  these  two  granite  steps. 

"There  is  a  little  spot  I  want  rubbed  more,"  she  says  to 
Ernest. 

"  Here's  a  place  that  isn't  quite  clean,"  she  shows  to  Wil- 
lard. 

In  an  instant  more — "  There's  a  mark,  Ernest,  that  you 
didn't  get  off." 

"Close  to  the  edge,  Willard,  I  see  a  bit  of  brown;" 
continuing,  "your  eyes  are  younger  than  mine,  they 
ought  to  be  sharper;  you  may  try  to  find  more  spots  to 
rub." 

The  two  tired  boys  are  ready  to  drop  where  they  stand, 
when  the  teacher,  at  last  acknowledges,  "I  think  they  must 


608     I  'HE   ' '  Q  VINC  Y  ME  THODS  "   ILL  US  1  'RA  TED. 

be  clean,"  concluding,— "you  may  put  the  brooms  away 
and  go  home ;"  which  they  gladly  and  promptly  do. 

Regarding  this  case  of  discipline,  there  are  two  things 
which  may  quite  safely  be  inferred— first,— that  a  lesson 
thus  worked  in  and  burned  in,  is  not  likely  to  be  soon  for- 
gotten; and  second,  that, — as  far  as  real  enjoyment  of  a 
punishment  is  concerned,— these  two  children  would  much 
prefer  an  old-fashioned  ferruling,  to  another  skilful  appli- 
cation of  Herbert  Spencer's  theory  of  moral  training. 


Notes  and  Comments. 

Said  Confucius,  "To  know  that  you  know  what  you 
know,  and  to  know  that  you  do  not  know,  what  you  do  not 
know,  is  true  knowledge."  There  is  no  easier  or  surer  way 
for  pupils  to  come  into  possession  of  this  knowledge,  than 
by  means  of  just  such  teaching  and  training  as  this  lesson 
shows.  The  teaching,— a  deliberate,  systematic  presenta- 
tion of  new  facts, that  the  children  may  take  them  in  slowly 
and  surely.  The  training,— a  swift,  insistent  demand  for 
old  facts,  that  the  children  shall  give  them  back  accurately 
and  rapidly.  Thus,  habits  of  intellectual  certainty  and  readi- 
ness are  formed,  that  will  go  far  toward  guarding  these 
pupils  against  that  conceit,  which  the  teachers  of  the  civil- 
ized Nineteenth  Century  have  not  outgrown;  though  a 
heathen  instructor  saw  its  evils  and  pointed  out  its  origin, 
twenty-four  hundred  years  ago. 


CHAPTER  VIII. 

SOME  SPELLING  AND  ITS  EXAMINATION. 

ALL  the  pupils'  written  work,  implies  thought  and  its  ex- 
pression ;  and  any  defect  in  either  of  these,  is  due  generally 
to  poor  teaching  and  training.  If  lacking  in  thought,  the 
teacher  has  either  presented  a  subject  which  is  beyond  or 
below  the  grasp  of  the  pupils;  or  she  has  not  generated 
power  in  them  to  deal  with  a  subject  when  grasped,  i.e.  to 
think.  This  means  incompetent  teaching.  If  on  the  con- 
trary, the  failure  lies  in  expression ;  whether  it  be  a  faulty 
technic  of  language,— such  as  awkwardh^  constructed  sen- 
tences, repetition  of  idioms,  and  ungrammatical  use  of 
words,— or  poor  technic  of  hand  work ;— the  mechanics  of 
writing,  spelling,  and  punctuation, — it  proves  unskilful 
training. 

It  follows  then,  that  the  pupils'  written  work  tests  the 
teacher  far  more  than  the  pupils,  and  that  all  examinations 
of  such,  reveal  oftener  what  the  teacher  has  [or  has  not] 
done,  than  what  the  pupils  can  do ;  and  shows  power,  or  the 
lack  of  it,  in  the  teacher  rather  than  in  the  pupils. 

These  facts,  hitherto  ignored,  make  the  old  manner  of 
criticising  compositions— involving  the  laborious  search  for, 
and  the  careful  correction  of  every  mistake  by  the  teacher ; 
together  with  the  indifferent  reception  or  the  hacked, 
patched,  and  disfigured  manuscripts,  by  the  pupils  to  whom 
they  belonged ; — the  very  reductio  ad  absurdum  of  training 
in  language.  Had  the  teachers  comprehended  that  these 


6lO     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

papers  were  like  open  books,  whereon  they  could  read  in 
every  error,  proofs  of  their  own  incompetency ;  the  dreadful 
drudgery  of  such  examinations  would  not  have  been 
altogether  in  vain.  But  as  was,  it  did  not  benefit  the 
teachers,  because  they  had  not  sense  to  see  what  it  implied ; 
and  as  the  pupils'  critical  powers  could  not  grow  through 
the  teachers'  exercise  of  theirs,  it  did  the  pupils  no  good  but 
rather  harm ;  since  it  served  to  make  them  hate  still  more, 
that  horrible  bugbear,—  composition- writing. 

Properly,  all  criticisms  upon  written  papers,  should  be — 
as  far  as  the  pupils  are  concerned — made  with  reference  to 
the  form  of  the  work  only ;  to  wit  :  spelling  (including 
writing),  capitals,  and  punctuation;  for  all  faults  of  lan- 
guage must  of  necessity,  be  trained  out, — i.e.  corrected,— 
in  oral  speech. 

As  nearly  every  lesson  in  the  third  and  fourth  grades 
is  made  a  lesson  in  language,  and  as  the  greater  part  of  this 
language  work  is  written,  it  goes  without  saying,  that  there 
is  an  ever  increasing  amount  of  slates  and  papers  to  be 
examined  during  tlu's  time.  In  the  examination  of  these, 
certain  points  are  observed.  First:  only  one  fault  is  ever 
found  with  a  slate  or  paper.  Second:  an  error  is  never 
pointed  out;  nothing  but  the  fact  that  there  is  one,  being 
told  the  pupil.  Third:  the  teachers  train  themselves  to 
see  wrong  forms  on  a  paper  or  slate,  with  one  glance. 
Fourth:  the  examinations  are— when  possible— immediate, 
being  made  either  during  the  progress  of  the  work,  or  di- 
rectly afterward,— for  the  sake  of  the  deeper  impression 
upon  the  pupils. 

In  the  beginning,  the  children  have  but  a  single  vocabu- 
lary, and  that  a  limited  one,  of  the  spoken  words  they  use 
in  their  talk.  As  fast  as  they  learn  to  read,  they  acquire 
a  second  vocabulary,  consisting  of  script  and  printed  words, 
which  they  are  taught  to  make,  as  well  as  recognize. 

The  aim  during  the  first  year,  is  to  have  the  pupils  copy 


SOME   SPELLING  AND  ITS  EXAMINATION.     6ll 

all  the  words  that  they  read ;  the  first  exercises  consisting  of 
single  words,  afterward  of  sentences.  The  second  grade 
work  is  not  confined  to  sentences  comprising  the  words 
occurring  in  the  reading  lessons,  but  includes  as  much  of 
the  pupils'  oral  vocabulary  as  can  be  well  taught.  Dicta- 
tion follows  the  copying  in  this  grade,  and  ' '  Talking  with 
the  Pencil "  begins. 

This  (third)  year's  spelling  completes  the  pupils'  vocabu- 
lary of  spoken  words,— including  the  idioms  used.  Conse- 
quently, at  the  end  of  three  years,  the  children  should  have 
so  far  mastered  the  spelling  of  all  the  words  they  use  or 
read,  that  only  an  occasional  review  of  such  as  are  trouble- 
some [aside  from  the  regular,  constant,  written  work],  will 
be  needed  to  keep  ah1  these  word  and  sentence  forms,  well 
fixed  in  mind. 

When  pupils  have  reached  this  stage  of  advancement, 
spelling  need  no  longer  be  taught  alone,  but  can  be  merged 
into  composition,  for  which  it  is  but  a  preparation,  and 
thus  taught  in  connection  with  every  other  branch.  Be- 
cause of  this,  Spelling  will  have  no  place  as  a  separate  study, 
in  the  illustrations  of  the  succeeding  year's  work. 

All  that  now  remains  to  be  done  in  this  branch  [beyond 
the  learning  of  new  words,  as  fast  as  they  are  encountered 
by  the  pupils  in  the  course  of  their  reading  and  study],  is 
to  make  the  whole  matter  automatic ;— to  so  train  the  hand, 
that  it  will  move  to  express  thought  as  readily  and  uncon- 
sciously, as  do  the  vocal  organs.  There  is  but  one  way  in 
which  this  can  be  done,  and  that  is  by  persistent  practice. 
In  other  words,  as  the  thing  desired  is  to  have  the  pupils 
think  the  thought  and  write  the  sentence  as  an  automatic 
expression  of  that  thought ;  the  thing  to  be  done  in  all  their 
training,  is  to  put  thought  back  of  every  sentence  they 
write,  and  allow  nothing  to  come  betiveen. 

Such  training  would  entirely  prevent  the  struggle  with 
the  technic,  that  hinders  and  frets  most  writers  of  the 


6l2     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

present  generation ;  would  do  away  with  all  consciousness 
of  writing,  spelling,  capitals,  and  punctuation;  and  would 
leave  the  mind  free  for  that  which  is  higher,— for  thought. 
The  demand  grows  stronger,  and  the  need  more  urgent 
every  year,  for  power  over  this  great  means  of  expression,— 
written  language ;  and  the  day  is  not  far  distant  when  the 
hand  shall  be  trained  to  be  as  prompt  and  facile  to  express 
the  thought  in  language,  as  the  tongue. 

Then,  and  not  till  then,  the  children  of  men  shall  have 
complete  control  over  that  which  is  mightier  than  the 
sword, — the  pen. 

PURPOSE  OF  THE  LESSON.—  To  train  the  pupils  to  make  au- 
tomatically the  word-forms  of  the  sentences  given,  which 
are  already  fixed  in  the  mind,  and  to  teach  them  those  not 
yet  learned. 

PREPARATION  MADE  BY  THE  TEA 67; :£/?.— Selecting  the  words 
to  be  taught,  and  devising  the  manner  of  their  presentation. 
Besides  this  the  arrangement  of  half  of  them  hi  sentences 
of  moral  purport,  and  the  writing  of  these  sentences  011  the 
board  before  school. 

PREPARATION  MADE  BY  THE  PUPIL S.  —All  the  practice  they 
have  had  previously  in  framing  and  writing  sentences. 

PLAN  OF  THE  LESSON.— First.  Gain  from  the  children— by 
means  of  remarks  or  questions— the  ten  words  of  my  list, 
and  place  them  upon  the  blackboard. 

Second.  Have  the  class  pronounce  these  in  concert,  and 
then  call  upon  different  pupils  to  give  sentences  containing 
these  words. 

Third.  Select  from  the  sentences  as  they  are  given,  five 
which  will  include  a  declarative  and  an  interrogative  sen- 
tence, a  quotation,  and  a  title.  [Mem.  Manage  to  get  these.] 
Have  the  children  write  these  on  their  slates,  and  write  them 
myself  on  the  board. 

Fourth.  Let   each    division   copy  these   twice  over  for 


SOME   SPELLING  AND  ITS  EXAMINATION.     613 

Busy-Work;  the  first,  this  morning,  the  second  this  after- 
noon. 

Fifth.  Dictate  the  sentences  the  last  thing  to-morrow 
morning,  and  examine  the  slates  before  the  pupils  go  home. 

Sixth.  Put  the  other  five  words  into  sentences  that  will 
do  the  children  good  to  think  about,  and  have  them  for  the 
next  lesson. 


GIVING  OUT  THE  LESSON. 

It  is  a  sultry  day  in  September.  The  dark  heavy  shades 
—drawn  down  to  shut  the  hot  sun  out— hang  motionless. 
Half  an  hour  ago  the  teacher  with  the  question,— "Would 
you  like  some  fans?"  and  the  mandate,—"  Go  to  work  and 
make  them!"  set  the  pupils  all  to  drawing  palm-leaf  fans 
from  memory.  Now  the  sketches  are  completed,  and  the 
monitors  are  gathering  up  the  papers. 

While  this  is  being  done,  the  teacher  says, — "Fan  your- 
selves, children!"  making  as  she  speaks,  a  rapid  waving 
motion  with  her  right  hand,  presently  changing  to  the  left, 
then  alternating  the  two.  Her  action  is  cheerfully  imitated 
by  the  pupils,  who  are  quite  successful  in  this  novel  method 
of  raising  the  wind. 

"Stand!"  They  are  up.  "Make  yourselves  tall  and 
stiff!"  They  are  like  a  company  of  drum-majors.  "Fill 
your  lungs  full  of  air,  hold  your  breath  and  do  as  I  do!" 
percussing  her  chest  vigorously.  "Let  go  the  breath!" 
dropping  her  hands  as  she  speaks,  and  the  pupils  doing  the 
same.  ' '  Fill  the  lungs  again ;  slap  the  chest !  quicker ! 
harder !  hands  at  side !  sit !  People  who  cannot  speak  are 
what?" 

"Dumb!"  is  the  sudden  chorus. 

"  I'll  write  dumb  here  on  the  board,"  informs  the  teacher, 
suiting  the  action  to  the  word.  "If  all  your  mothers 


614     ttfE   "QUltfCY  METHODS"  ILLUSTRATED. 

should  come  together  in  this  room,  we  should  say  that  there 
were  a  great  many — 

"  Ladies!"  supply  the  class. 

.,  Another  word,"  requests  the  teacher. 

"  Women!"  is  the  instantaneous  response,  and  that  is 
also  deliberately  written  upon  the  board,  by  the  teacher, 
who  places  doubtful  directly  under  it,  then  turns  toward 
her  watching  class  and  inquires, — "What  is  it?" 

The  pronunciation  is  clear,  and  emphatic. 

The  teacher  then  goes  on  to  state, — "  The  other  day,  the 
cook  was  making  cake,  and  just  as  I  went  into  the  kitchen, 
she  was  stirring  in  some  nutmeg,  cinnamon,  and  cloves; 
what  shall  I  say  that  she  was  doing?" 

"Putting  in  spice !"  call  out  several  voices. 

Without  a  word  of  comment,  the  teacher  writes  under- 
neath the  others,  the  word  spicing,  which  at  a  gesture  from 
her  the  pupils  pronounce. 

"Yesterday  was  Thursday,  and  to-day  is—" 

"  Friday,"  conclude  the  chorus. 

"Yes;  and  when  will  play-day  be?"  asks  the  teacher. 

"  To-morrow,"  coincide  the  children. 

Thus  the  teacher  gets  to-morrow,  which  she  places  in  her 
column  upon  the  board. 

"Take  out  your  slates!"  They  come  out  instanter. 
"Make  them  clean  on  both  sides."  Sponges  and  cloths  ap- 
pear and  disappear  with  great  celerity.  "What  have  you 
been  doing  to  your  slates?"  is  the  quick  query. 

" Washing  1"  "Rubbing!"  "Cleaning  them!"  are  the 
varying  answers. 

"I  am  going  to  say  that  you  were—"  writing  cleaning,— 
"  them.  You  did  something  else  to  them,  that  some  of  you 
mentioned;  just  what  I  am  doing  to  my  hands,"  making  a 
motion.  "lam—" 

"  Rubbing  them,"  agree  the  pupils  promptly. 

Seventh  in  her  column,  the  teacher  now  places  the  word 


SO  ME   SPELLING  AND  77'S  EXAMINATION.     615 

just  gained ;  then  picking  up  two  peaches  from  her  table- 
offerings  of  affection— she  demands,  "How  many  have  I 
here?" 

"Two!"  is  the  unanimous  verdict. 

"And  two  things  are  called  what 2" 

"A  pair!"  thinks  one. 

"  Twins!"  suggests  another. 

"Yes,  and  sometimes  we  say  a — "  spelling  slowly  with 
her  crayon, — couple.  "  What  is  this  made  of?"  is  her  next 
interrogation,  catching  up  her  knife,  opening  it,  and  point- 
ing to  the  blade. 

' '  Iron !"     "  Steel !"  is  the  mixed  reply. 

"  Steel  is  right,"  she  decides  as  she  places  that  also  upon 
the  board.  Below  it  she  writes  the  word  coward,  which  the 
children  repeat  as  soon  as  they  recognize  it,  when  turning 
toward  the  class,  the  teacher  gravely  observes,  "I  hope 
there  are  none  of  those  in  this  school. " 

This  is  the  last  word  of  the  lesson,  and  the  teacher  now 
points  to  the  first,  and  commands  the  class,  "Pronounce!" 
which  they  do;  and  immediately  raise  their  hands  to  sig- 
nify that  they  are  ready  with  a  sentence,  containing  that 
word. 

The  first  pupil  called  upon  is  Jennie,  who  inquires  with  a 
mischievous  glance  toward  the  most  talkative  child  in  the 
room,  "Do  you  think  that  boy  is  dumb?" 

"Not  very,"  responds  the  teacher  demurely,  as  she  in- 
dicates the  middle  word  in  the  column,  which  the  children 
pronounce  in  concert,  and  then  put  up  their  hands  again. 

Eittie  is  signalled  to  speak,  and  interrogates,  "Is  she 
cleaning  her  doll's  clothing?" 

"We  will  all  write  Kitty's  sentence,"  announces  the  teach- 
er, returning  to  the  board,  as  the  pupils  snatch  their  pencils, 
and  begin  on  their  slates.  When  all  have  finished  and  are 
sitting  in  order,  the  word  which  follows  is  repeated  by  the 
children,  and  Nannie  is  allowed  an  opportunity  to  remark, — 


6l6     THE   "QUINCY  METHODS"   ILLUSTRATED. 

"I  saw  a  man  rubbing  the  engine/' 

"Did  you?"  replies  the  teacher.     "  Who  was  it?" 

"Mr.  T." 

"  Suppose  you  give  his  name  in  your  sentence." 

"I  saw  Mr.  T.  rubbing  the  engine,"  amends  Nannie. 

"Put  that  down  on  your  slates,"  dictates  the  teacher, 
writing  it  at  the  same  time  on  the  board. 

"  Coward!"  call  out  the  pupils,  in  obedience  to  the  teach- 
er's pointer,  and  Jimmie  being  given  permission  asserts, — 

"  The  boy  was  such  a  coward  that  he  wouldn't  fight." 

"I  should  hope  that  he  was  too  brave  to  do  so,"  is  tho 
teacher's  earnest  comment ;  which  sets  the  children  to  think- 
ing, while  they  watch  to  see  which  word  they  must  talk 
about  next. 

It  is  the  second,  and  after  all  have  said  women,  Mike  rises 
to  explain  that, — "Two  women  are  called  ladies." 

Now  comes  the  pronunciation  of  the  eighth,  and  George's 
bit  of  information :  ' '  Knives  and  forks,  and  scissors  are 
made  out  of  steel. " 

Then  the  fifth.  "To-morrow!"  say  the  children,  and 
Inez  publishes  the  fact  that, — "Papa,  mamma,  the  baby, 
Jack,  and  I  are  going  to  Boston  to-morrow." 

After  the  pronunciation  of  spicing,  the  teacher  notifies, 
—"I  must  have  a  question  this  time.  Fred." 

"  How  much  spicing  does  your  mother  put  in  her  pies?" 
catechises  the  roguish  boy  with  mock  anxiety. 

"Enough  to  make  them  nice,"  retorts  the  teacher  good- 
humoredly,  adding  amid  the  laughter  of  her  frolicsome 
pupils;  "and  you  may  all  write  Fred's  question." 

"  Couple!"  call  out  the  class  as  that  word  is  indicated. 

"Who  has  a  fine,  long  sentence?"  urges  the  teacher. 
"Mark." 

"Those  two  girls,"  nodding  his  head  toward  tho  ones 
alluded  to;  "go  together  so  much  that  they  are  called  a 
couple,"  testifios  the  tcaze. 

"  Give  me  one  sentence  now,  in  which  I  shall  need  to  put 


SOME   SPELLING  AND  ITS  EXAMINATION.     617 

these  when  I  write  it, "  specifies  the  teacher,  making  quota- 
tion marks  on  the  board  to  illustrate.  "Ezra." 

"  My  mother  said,  '  There  goes  a  couple  of  girls  down  the 
street.'  " 

"Good!"  praises  the  teacher.  "Write  it,  everybody," 
which  they  do,  pronouncing  the  last  word,  doubtful,  as  soon 
as  the  pencils  are  in  place. 

* '  We  wish  to  have  the  best  sentence  of  all  to  close  with, " 
reminds  the  teacher.  "  Mattie,  tell  us  yours." 

"  It  is  doubtful,"  declares  the  speaker  archly,  "  whether  I 
shall  have  the  spelling  right. " 

"I  am  not  so  sure  that  it  is,"  protests  the  pleased  teach- 
er; "  but  we  will  all  write  it  now,  and  judge  by  and  by  if  it 
be  true." 

When  the  slowest  writer  raises  his  head  after  finishing 
his  last  word,  he  finds  the  teacher  at  his  side  watching  his 
work,  and  sees  upon  the  blackboard,  plain  and  clear,  the 
five  sentences  he  has  just  written  upon  his  slate. 

STUDYING  THE  LESSON. 

"Now  the  first  division,"  directs  the  teacher,  "  may  write 
beautifully,  each  of  these  sentences  twice  more,  and  then 
put  your  names  at  the  end.  The  second  division  face  this 
blackboard,"  and  a  lesson  in  Number  follows. 

Near  the  close  of  the  period,  when  the  young  mathemati- 
cians are  performing  a  problem,  the  teacher  seeing  that  a 
few  of  the  Busy-Workers  have  finished  their  writing,  calls 
their  attention  to  the  line  "Blessed  are  the  peace- makers," 
elegantly  written  in  colored  crayons  near  the  top  of  the 
same  blackboard  where  the  spelling  sentences  are,*  and 
says,  "You  may  copy  that  twice  too,  all  but  Prissy;  I'd 

*  The  teacher  places  a  new  motto  here  every  two  or  three  days,  which  is  in- 
tended both  for  use  and  for  beauty,  "to  strike  the  eye  and  reach  the  heart;1' 
serving  also,  as  in  this  case  for  a  bit  of  extra  work  for  the  rapid  writers,  and 
occasionally  furnishing  the  text  for  a  secular  sermonette. 


6l8     THE   "QUINCY  METHODS"  ILLUSTRATED. 

like  to  have  her  go  and  help  Fanny ;  she  isn't  as  used  to  this 
sort  of  work  as  the  rest  of  you  are." 

Then  the  teacher  turns  her  attention  again  to  her  Number 
lesson ;  while  the  child  instructor  takes  her  seat  at  the  right 
of  the  girl  needing  assistance  [a  pupil  hut  lately  transferred 
from  another  school],  grasps  her  right  hand  as  firmly  as 
the  size  of  the  chubby  fist  will  allow,  and  guides  it  patiently 
and  untiringly,  till  the  last  letter  is  done. 

''First  division,  leave  your  slates,  written  side  up,  on  the 
left-hand  corner  of  your  desks;  second  division,  face  and 
clear  your  desks,"  dictates  the  teacher,  as  the  signal  sounds 
for  dismissal;  and  in  another  moment  the  lines  are  filing 
out. 

After  all  have  gone,  the  teacher,  taking  a  piece  of  crayon, 
commences  to  examine  the  copying.  When  the  work  is 
only  fair,  she  marks  it  1 ;  when  it  is  well  done,  she  makes  a 
figure  2;  if  extra  fine,  she  adds  to  the  2  a  cross  thus,— 2  x  ; 
while  any  slate  that  indicates  carelessness  on  the  part  of  its 
owner  is  ignominiously  turned  with  its  face  down,  without 
any  mark.  This  does  not  take  over  five  minutes.  It  is 
noticeable  that  those  who  leave  their  slates  for  examina- 
tion, are  usually  the  first  comers  at  the  next  session,  so 
eager  are  they  to  know  what  is  thought  of  their  work. 

In  the  afternoon,  the  second  division  are  given  their  time 
to  study  the  lesson,  being  set  to  copy  the  sentences  during 
the  first  Busy- Work  period;  but  the  spelling  lesson  itself, 
does  not  take  place  till  the  very  last  of  the  session. 


SPELLING  THE  LESSON. 

Meantime,  the  teacher  having  copied  the  ten  words  and 
five  sentences,  has  the  front  blackboard  cleaned,  and  both 
sides  of  all  the  slates  cleaned.  Now  when  the  time  for  the 
lesson  arrives,  the  teacher  says  to  her  roomful  of  spellers, — 


SOME   SPELLING  AND  ITS  EXAMINATION.     619 

all  sitting  with  slates  in  position,  and  pencils  in  hand, 
"Write  your  names,  and  do  your  very  best." 

The  instant  the  eyes  leave  the  slates,  they  are  fixed  upon 
the  teacher,  that  the  alert  and  expectant  pupils  may  see,  as 
well  as  hear  the  sentence,  which  they  know  from  experi- 
ence will  come  without  a  word  of  preliminary,  and  come 
but  once. 

As  the  last  pair  of  eyes  is  lifted  to  her  face,  the  teacher 
inquires,  "  Is  she  cleaning  her  doll's  clothing?"  in  such  a 
natural  manner,  that  if  the  children  did  not  know  that  this 
is  dictation,  they  would  certainly  answer  her.  As  it  is, 
they  look  till  she  has  uttered  the  last  word,  and  then  begin 
— all  at  once — to  write;  while  the  teacher,  with  her  little 
slip  of  paper  containing  the  five  sentences  gained  from  the 
children  this  morning,  moves  noiselessly  around  among  the 
writers,  giving  her  attention  principally  to  position  this 
time,  because  the  pupils  are  supposed  to  know  how  to  write 
the  sentences. 

Presently,  pencils  begin  to  be  laid  in  the  groove,  and 
hands  to  be  folded ;  seeing  which  the  teacher  betakes  her- 
self to  the  front  and  waits  till  all  have  finished,  when  she 
announces,  "  I  saw  Mr.  T.  rubbing  the  engine." 

Directly  the  final  word  is  spoken,  the  writers  begin  to 
write,  and  the  reader  to  walk  up  and  down  the  room  once 
more,  until  all  have  set  that  sentence  down. 

Again  the  teacher,  standing  at  her  place  in  front,  looks 
into  the  faces  of  her  pupils,  all  sitting  with  folded  hands 
before  her,  and  asks  the  question,  "How  much  spicing  does 
your  mother  put  in  her  pies?" 

There  is  just  the  ghost  of  a  smile  upon  the  faces  bent  the 
next  moment  over  the  slates,  while  they  write  the  sentence 
just  dictated.  This  is  so  long,  that  the  teacher  has  time  to 
go  the  rounds  of  the  room,  before  they  are  ready  for  the 
next. 

When  all  the  eyes  and  hands  show  that   their  owners 


620     THE   "  QUINCY  METHODS"   ILLUSTRATED. 

are  waiting,  the  teacher  from  her  station  at  the  table  de- 
clares, "My  mother  said,  'There  goes  a  couple  of  girls 
down  the  street.'" 

Swiftly  the  pencils  are  caught  up,  and  set  travelling 
along  the  lines  of  the  slates,  and  no  sound  save  their 
scratching  is  heard  in  the  room,  for  the  teacher's  tread  is 
noiseless.  It  is  evident  that  the  quoted  passage  is  somewhat 
troublesome  to  the  small  spellers,  for  several  after  sitting 
in  the  attitude  of  readiness  a  second  or  two,  are  seemingly 
struck  with  a  sudden  remembrance,  pick  up  their  pencils 
and  put  in  the  marks  of  quotation.  In  process  of  time 
however  the  class  is  all  in  position,  and  then  the  teacher,— 
watching  patiently  in  her  place,  dictates  the  last  sentence. 

"  It  is  doubtful  whether  I  shall  have  the  spelling  right." 


THE  EXAMINATION. 

After  this,  she  does  not  walk  the  aisles,  but  instead,  she 
draws  her  chair  up  to  the  first  row  of  desks  and  seats  her- 
self, to  wait  until  the  slates  are  ready  for  examination.  As 
fast  as  the  writers  finish,  they  come  up  quietly,  and  give 
their  slates  to  the  teacher;  or  if  she  has  her  hands  full— 
and  generally  she  sits  holding  one  in  each  hand— they  lay 
their  slates  upon  the  desk  just  at  her  right,  and  return  to 
their  seats  to  stay  until  she  calls  their  names.  Then  if  the 
teacher  adds,  *'  Perfect!"  the  happy  child  goes  smilingly  to 
get  his  slate,  tucks  it  in  his  desk  in  gentle  fashion,  and  is  off 
until  to-morrow.  But  if  instead,  the  teacher  says,  "Mis- 
take !"  the  unhappy  owner  comes  for  his  slate  with  sober 
face,  and  takes  it  to  his  seat,  where  he  must  search  until 
he  finds  the  error  which  the  teacher  'saw.  This  he  must 
correct,  and  carry  back  the  slate  for  re-examination.  For 
this  teacher  beginning  her  examination  sometimes  at  the 
first  sentence,  often  at  the  last,  or  it  may  be  in  the  middle,  — 
for  a  change,— reads  like  lightning  till  she  meets  an  error, 


SOME   SPELLING  AND  ITS  EXAMINATION.     621 

then  calling  the  name  aloud,  says,  "Mistake !"  and  takes  the 
next  slate  up.* 

THE  NEXT  LESSON. 

Thus  are  five  words  disposed  of.  The  remaining  number, 
those  about  which  the  children  did  not  make  good  sen- 
tences for  spelling,  the  teacher  takes  in  hand  herself ;  and 
thus  gains  a  good  opportunity  to  bring  in  her  ever-present 
moral  idea.  This  is  how  she  does  it. 

(1)  None  but  good  girls  and  boys  make  noble  women  and 
men.  (2)  A  brave  child  speaks  the  truth  while  a  coward 
tells  a  lie.  (3)  Be  tender  and  trusty  and  true  as  steel.  (4) 
Always  treat  dumb  animals  with  kindness.  (5)  Do  not  put 
oif  till  to-morrow  what  should  be  done  to-day. 

This  is  the  next  spelling  lesson.  The  pupils  will  find 
it  all  ready,  written  upon  the  board  for  them  to  copy  the  fol- 
lowing Monday  morning,  and  the  lesson  will  come  the  same 
afternoon. 

The  pupils  write  these  sentences  upon  paper,  and  if  they 
are  well  done,  the  children  are  allowed  to  carry  them  home 
to  show  their  parents. 

ANOTHER  LESSON  IN  SPELLING. 

A  different  but  equally  excellent  way  of  mixing  morals 
and  spelling,  is  one  this  teacher  had,  of  occasionally  writing 
upon  the  board  some  stanza  worth  thinking  about  and  re- 
membering ;  for  instance : 

"Guard,  my  child,  thy  tongue, 
That  it  speak  no  wrong. 
Let  no  evil  word  pass  o'er  it; 
Set  the  watch  of  truth  before  it, 
That  it  speak  no  wrong; 
Guard,  my  child,  thy  tongue." 

*  It  took  her  on  the  average,  two  seconds  to  examine  a  slate. 


622      THE   "QUINCY  METHODS"  ILLUSTRATED. 

This  was  used  first  as  an  imitation  exercise ;  that  is,  the 
teacher  had  the  children  repeat  it  after  her,  till  they  learned 
it ;  and  finally,  she  made  it  serve  some  day,  for  a  lesson  in 
Spelling. 

Notes  and  Comments. 

The  mistakes  of  pupils  in  such  lessons  as  these,  are  the  re- 
sultants of  two  causes, — ignorance  and  carelessness.  To  call 
the  attention  of  children  to  errors  they  have  committed 
through  ignorance,  does  more  harm  than  good;  for  thus 
they  are  led  to  observe  wrong  forms  which  they  have  110 
power  to  make  right.  But,  as  the  surest  way  to  break  up  a 
bad  habit  is  to  form  the  good  one  which  is  its  opposite ;  so 
the  quickest  cure  for  carelessness,  is  to  so  manage,  that  care- 
less doing  shall  immediately  and  invariably  be  followed  by 
careful  undoing.  This  the  teacher  did  in  the  preceding 
lesson,  when  she  set  the  pupils  to  searching  for  the  error  in 
their  sentences  which  she  had  discovered,  that  they  might 
correct  it.  She  stopped— it  is  true— at  the  first  mistake  she 
found,  but  as  they  knew  that  she  was  liable  to  begin  with 
any  one  of  the  five  sentences,  to  read,  they  must  perforce, 
go  over  and  correct  the  entire  work.  Thus  what  the  teach- 
er saved  of  her  time  and  strength,  the  pupils  gained  in  the 
way  of  opportunity  to  use  theirs;  an  admirable  illustration 
of  the  law  of  the  conservation  of  forces,  which  the  average 
teacher— who  never  allows  her  pupils  to  do  anything  which 
she  can  do  for  them  —could  study  with  profit. 


SECTION  EIGHTH. 


I.  Preliminary. 
II.  Arithmetic.— Practice  Work. 

III.  Geography  and  History.— A  Combination  Lesson. 

IV.  Conclusion. 


Section  Eighth  comprises  all  the  illustrations  of 
Fourth  Year  work  which  are  presented. 


OHAPTEE  L 

PRELIMINARY. 

THREE  years  of  consecutive,  consistent  teaching  and  train- 
ing, such  as  has  been  described,  should  show  very  marked 
results.  First,  the  children  having  learned  what  they  know 
of  morality,  just  as  they  have  learned  everything  else  that 
they  know, — practically  instead  of  theoretically ;  and  having 
been  given,  in  the  course  of  their  school-life,  many  oppor- 
tunities for  the  exercise  of  their  moral  power,  it  has  de- 
veloped accordingly.  With  a  similar  purpose  on  the  part 
of  the  teacher,  and  in  the  same  manner,  each  pupil's  sense 
of  personal  responsibility  has  been  consciously  educated, 
and  thus  a  commendable  amount  of  self-control  attained. 
Because  the  individuality  of  the  children  has  been  held 
sacred,  their  self  activity  in  all  right  directions,  has  been 
guarded  with  zealous  care.  In  consequence,  these  pupils 
have  seen  with  their  own  eyes,  and  heard  with  their  own 
ears;  and  the  accumulated  results  of  their  own  observa- 
tions has  formed  the  basis  of  their  thoughts,  which  they 
have  expressed  in  their  own  way.  Thus  the  minds  of  these 
children  have  been  filled  with  real  things  and  not  with 
words.  Their  bodies  have  been  well  cared  for  (while  in 
the  schoolroom),  but,  aside  from  the  skilful,  persistent 
training  of  the  hand  and  finger  power, — in  the  use  of  crayon, 
pencil,  and  pen, — and  the  insistent  demand  for  healthful 
position  and  firm,  self -respectful  carriage;  they  have  not 
been  educated. 


626     THE   "QUINCY  METHODS"  ILLUSTRATED. 

Now,  having  formed  the  habit  of  acquiring  their  facts  at 
first  hand,  and  having  experienced  the  delight  of  discovery, 
the  pupils  may  safely  be  sent  to  books  for  the  informa- 
tion which  they  cannot  gain  in  any  other  way;  [for  such 
unaccustomed  readers,  the  living  person  is  more  stimulat- 
ing to  thought,  than  the  dead  page]. 

During  this  year,  also,  the  unity  of  school- work  becomes 
more  obvious,  and  the  connection  between  the  branches, 
in  teaching,  closer.  Indeed,  as  the  grades  advance,  the 
studies  gradually  merge  one  into  another,  until  it  occasion- 
ally happens,  as  in  Chapter  Three  of  this  Section,  that  a 
single  lesson  in  Geography  involves  some  teaching  in  every 
other  branch. 


ARITHMETIC. 

The  work  in  Number  of  the  four  grades  here  presented, 
will  indicate  the  general  plan  pursued,  and  give  an  idea  of 
the  manner  in  which  most  of  the  important  steps  are  taken. 
The  lessons  chosen  to  be  photographed,  are  such  as  intro- 
duce, in  addition  to  these  points,  a  variety  of  devices  to 
render  the  teaching  and  training  more  effective. 

The  first  thing  to  be  done  in  the  teaching  of  Number,  is  to 
ascertain  the  amount  of  knowledge  of  this  limitation  which 
the  children  possess  already,  in  order  to  know  where  to 
begin  to  teach.  The  process  of  testing  the  little  ones  upon 
i  ii is  subject,  is  shown  in  the  lesson  found  in  the  preparatory 
work  included  in  Section  II. 

"While  there  is  no  cast-iron  course  of  study,  to  which  the 
pupils  of  the  Quincy  schools  are  obliged  to  conform,  there 
is  a  logical  line  of  development  of  some  branches,  laid 
down,  which  the  teachers  are  desired  to  follow.  Take  this 
matter  of  Number  for  instance.  During  tho  first  year,  the 
numbers  from  one  to  ten  are  to  be  presented  as  wholes,  and 
taught,— one  at  a  time,  by  meant;  of  objects  of  all  sorts. 


PRELIMINAR  Y.  627 

This  is  the  work  of  the  teacher,  and-this  is  expected  to  be 
so  skilfully  clone,  that  the  pupils  will  discover  all  the  facts 
of  these  numbers,  i.e.:  their  various  separations  and  com- 
binations,—for  themselves.  Besides  this,  the  teachers  are 
expected  to  fix  these  facts  so  firmly  in  the  minds  of  their 
pupils,  by  continual  and  diversified  repetitions,  that  the 
recollection,  or  recognition  of  these  facts  will  be  at  all  times 
instantaneous.  The  advance  lesson  and  the  review,  described 
in  Section  V.  illustrate  fully  these  points. 

The  second  year  continues  the  oral  work,  and  prepares 
for  written— here  begins  the  teaching  of  the  written  lan- 
guage of  Number—figures.  This  advance  affords  the  best  of 
opportunities  for  a  searching  review  of  ah1  the  ground  gone 
over.  In  the  course  of  this,  objects  are  dispensed  with,  as 
fast  as  facts  and  forms  are  so  thoroughly  learned  that  they 
can  readily  be  recalled  without  the  presence  of  the  objects, 
but  not  before.  From  the  first,  the  pupils  in  this  grade  are 
scrupulously  trained  to  fine  figure-writing,  and  the  neat 
arrangement  of  work.  When  this  has  been  accomplished, 
the  making  of  tables— addition,  subtraction,  multiplica- 
tion, division,  etc.,  begins.  It  has  been  found  that  classes 
are  usually  able  to  do  all  this,  and  at  the  same  time  pro- 
gress in  their  knowledge  of  numbers,  from  ten  to  twenty, 
during  the  year. 

By  the  time  the  children  reach  the  third  grade,  Number 
is  gradually  getting  to  be  a  distinct  form  of  thought,  and 
figures  the  expression  of  that  thought.  Hence  it  now  be- 
comes necessary  that  the  pupils  should  be  taught  the  ele- 
mentary operations  with  figures,  including  notation  and 
numeration,  which  form  the  foundation  of  these.  All  this 
time,  the  children  are  learning  the  idioms  of  the  language 
of  Number;  both  those  found  in  the  conventional  use  of 
words  peculiar  to  arithmetic,  and  the  forms  of  written, 
or  figure  work.  When  these  have  been  thoroughly  mas- 
tered they  will  signify  no  vague  indefinable  abstractions, 


628     THE   "  QU2NCY  METHODS'*  ILLUSTRATED. 

but  instead  the  pupils,  seeing  these  figures  and  forms,  must 
think  the  thoughts  which  they  represent. 

The  processes  having  been  presented,  the  operations 
shown,  and  the  language  of  Arithmetic  imparted,  nothing 
now  remains  to  be  taught.  What  the  pupils  need  at  this 
stage,  is  practice.  This  is  gained  during  the  fourth  year, 
mainly  by  means  of  lessons  similar  to  the  one  here  photo- 
graphed. 

While  the  course  of  study  just  specified,  has  been  the 
detailed  work  of  the  grades,  there  have  been  some  points 
common  to  all ;  for  example : — The  constant,  practical  appli- 
cation at  every  step,  of  knowledge  gained,— by  means  of 
easy  and  interesting  problems  invented  by  both  teacher 
and  pupils;  and  the  frequent  introduction  of  drawing  to 
illustrate  these.  Again,  the  arrangement  of  lessons  all  the 
way  through  is  similar.  Instead  of  being  a  succession  of 
disconnected  leaps  from  one  uncomprehended  topic  to 
another,  at  the  behest  of  a  book-maker,  these  lessons  are 
so  planned  and  carried  out,  that  each  step  prepares  the 
way  for  the  next,  and  a  new  one  is  never  taken  until  the 
pupils  are  ready  for  it.  Thus  the  teachers  teach  and 
watch,  and  the  children  lead  them.  Finally,  the  aim  from 
the  first  day  to  the  last,  is  to  make  the  teaching  such  as  will 
lead  to  the  development  of  logical  thought  and  its  exact 
expression;  and  the  training,  that  which  will  make  accu- 
rate and  rapid  calculation  entirely  automatic. 


GEOGRAPHY. 

Geography— as  a  regular  branch  of  study— is  not  taken 
up  in  the  schools  of  Quincy  below  the  Grammar  (Fifth 
Year)  grade ;  and  all  teaching  previous  to  that,  is  decidedly 
elementary  in  character.  Still  the  little  lessons  (such  as 
that  upon  hills  in  Section  II.)  given  the  babies  of  the  First 
Year,  are  just  as  truly  Geography,  and  just  as  important 


PRELIMINAR  Y.  629 

in  their  places  as  the  moulding  and  comparison  of  the  con- 
tinents, in  the  A  Grammar.  Few  teachers  realize  the  num- 
ber of  facts  such  young  children  can  acquire  [if  properly 
led],  to  be  used  as  a  foundation  for  future  study. 

The  three  lessons  in  Structural  Geography  reported  in 
the  Second  Grade  work,  will  give  a  good  idea  of  the  man- 
ner of  teaching  the  forms  of  land  and  water.  First :  through 
observation,  only  such  forms  being  taught,  as  the  pupils 
have  seen  and  known  all  their  lives ;  second :  by  means  of 
reproduction  in  sand  and  clay,  to  show  the  formation  or 
structure,  and  to  fix  it  still  more  firmly  in  the  mind; 
third:  by  constant  comparisons  between  the  real  and  the 
moulded  forms,  to  bring  about  closer  observation,  and  to 
prepare  for  more  intelligent  study.  The  elementary  teach- 
ing in  this  branch,  is  mainly  confined  to  Structural  Geogra- 
phy ;  but  now  and  then,  a  lesson  like  the  building  of  the 
village,  described  in  Section  VI.,  is  introduced,  partly  for  its 
value  in  the  way  of  ideas  and  partly  for  the  sake  of  varie- 
ty. Under  the  same  category  as  the  last  named,  comes  the 
Eobinson  Crusoe  lesson,  delineated  in  Section  VII. ,  but  it 
must  not  be  forgotten  that  these  are  merely  supplementary 
to  the  regular  work,  enlarging  its  boundaries,  and  deepen- 
ing its  meaning. 

The  combination  lesson  photographed  in  this  Section,  was 
selected  for  two  reasons.  First,  because  it  demonstrates 
so  remarkably  well,  Col.  Parker's  proposition  to  make 
Geography  the  basis  for  the  study  of  all  the  other  Physical 
Sciences.  Second,  because  it  illustrates  very  clearly,  the 
most  radically  new  idea  of  the  New  Education ;  viz. :  the 
unity  of  work  in  the  different  branches.  For  instance; 
starting  with  Structural  Geography, — a  general  knowledge 
of  that  particular  portion  of  the  earth  with  which  the  child- 
ren were  most  familiar,— for  their  study ;  they  next  learned 
of  the  inhabitants,  which  led  inevitably  to  History.  Consid- 
ering the  needs  of  these  people,  brought  the  small  students 


630     THE    "QUINCY  METHODS"  ILLUSTRATED. 

back  to  Botany  and  Zoology,  and  would  have  involved 
Mineralogy  and  Geology,  had  their  knowledge  been  suffi- 
cient. In  the  course  of  all  this  work,  the  pupils  obtained 
their  historical  information  mainly  through  Reading,  and 
gave  back  what  they  had  gained  by  Writing  [which  included 
Spelling  and  Language],  by  Drawing,  Moulding,  and  Model- 
ling. Thus  this  single  lesson  (and  its  preparation)  included 
every  branch  but  Number. 

This  too  is  an  occasional  lesson,  brought  in  as  a  beginning 
in  History,  and  planned  to  kindle  a  fervent  desire  in  the 
pupils  to  know  more  than  they  are  told,  and  thus  lead 
them  to  Literature. 

The  regular  work  of  the  Fourth  Year  differs  from  that 
which  has  gone  before,  in  three  particulars.  First :  it  takes 
up  more  difficult  topics,  such  as  soil,  climate,  etc.  Second : 
it  treats  of  cause  and  effect, — the  why  and  wherefore  of 
natural  phenomena.  Third :  books  are  brought  in  as  sources 
of  information,  for  the  first  time,  not  to  study,  but  to  read. 
Primary  Geographies,  articles  in  children's  magazines  or 
papers,  and  elementary  Histories  are  used  as  Reading  books; 
and  the  matter  is  discussed  and  illustrated,  paragraph  by 
paragraph  as  they  proceed.  The  day  following  the  reading, 
the  pupils  are  called  upon  to  reproduce  in  writing,  all  that 
they  remember  of  the  lesson  read ;  but  no  set  definitions 
are  given  or  required. 

Thus  directly  and  indirectly,  a  firm  foundation  of  facts 
has  been  laid  in  the  minds  of  these  children,  before  the 
study  of  this  science  is  usually  begun. 

But  the  best  of  this  work  is  that  it  has  been  happy  work, 
because  it  was  done  in  early  youth,  in  what  Wordsworth 
calls,  the  time,of, — 

"  Questionings  of  sense  and  outward  things,  — 
The  hour  of  splendor  in  the  grass,  of  glory  in  the  flower." 


OHAPTEE  II. 

ARITHMETIC.— PRACTICE  WORK. 

PURPOSE  OF  THE  LESSON.— (1)  To  generate  power  in  the 
pupils. 

(2)  To  train  the  children  in  close  and  correct  reasoning, 
and  to  accurate  and  automatic  calculation. 

PREPARATION  MADE  BY  THE  TEACHER.—  Inventing  or  select- 
ing the  problems,  and  placing  them  upon  the  blackboard. 

PREPARATION  MADE  BY  THE  PUPILS.  —Their  ability  to  apply 
themselves  to  the  work  given,  and  their  power  to  attend 
to  the  subject  presented. 

PLAN  OF  THE  LESSON.—  First,— examine  the  answers  to  the 
examples,*  each  child  holding  his  own  slate.  Call  upon 
different  ones  to  read  their  answers,  and  the  rest  to  indicate 
whether  they  have  the  same.  Then  state  if  right  or  wrong. 

Second,— analyze  the  problems.  Now  have  the  pupils  ex- 
change slates,  across  the  room  from  right  to  left.  When 
this  has  been  done,  call  upon  some  child  to  read  the  first 
problem  from  the  board ;  another  to  give  the  answer ;  and 
a  third  to  go  to  the  board  and  perform  the  problem.  [Mem. 
For  the  last,  select  such  as  are  not  likely  to  make  mistakes, 
for  fear  of  placing  wrong  forms  before  the  pupils.]  Deal 
with  the  other  three  problems  in  the  same  way.  Next, 
have  slates  returned,  and  ask  those  children  who  had  errors, 

*  These  form  the  regular  daily  drill  in  abstract  numbers. 


632     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

to  stand.  Follow  this  with  some  of  the  oral  analysis,  for 
their  especial  benefit,  calling  in  turn  upon  each  of  those  who 
failed,  to  trace  one  or  more  steps  in  the  operation.  Request 
the  class  to  look  over  the  remainder  of  the  work  on  the 
board,  and  vouch  for  its  correctness.  Finally,  if  there  is 
time,  appoint  pupil  teachers  for  such  as  need  help. 


PREPARATORY  TO  THE  LESSON. 

The  schoolroom  of  the  A  Primary  grade  in  which  this 
exercise  occurs,  is  neither  large  nor  handsome,  nor  are  its 
furnishings  fine.  It  is,  in  fact,  quite  ordinary  in  most 
respects,  and  the  pupils  belong  evidently  to  the  poorer 
class.  But  the  few  inexpensive  pictures  and  ornaments,  the 
curtained  windows  with  their  hanging  baskets  of  trailing 
green,  the  book-case  at  the  back  of  the  room  containing  the 
"Supplementary  Reading,"  and  the  blossoming  plants  on 
the  teacher's  desk,  make  the  place  seem  homelike,  in  spite 
of  the  very  black  blackboards  that  line  every  wall  in  the 
room;  while  the  cheery  intelligent  faces  and  wide-awake 
yet  respectful  manner  of  these  children  of  poverty,  are  suffi- 
ciently attractive  to  render  almost  any  surroundings  un- 
noticeable. 

Upon  the  front  edge  of  the  teacher's  desk  there  stands  a 
stuffed  duck — evidently  mounted  by  an  amateur  at  that 
art — and  every  pupil  in  the  room  is  set  to  work  to  describe 
it  with  his  pencil.  Some  are  writing  away  as  fast  as  they 
can  f orm  the  words ;  some  are  standing  silently  in  front  of 
the  fowl,  looking  it  over  with  two  keen  curious  eyes 
that  see  everything  that  is  visible  to  the  unscientific  vision ; 
and  a  few  are  behind  the  desk,  carefully  measuring  every 
part  of  the  duck,  by  laying  on  their  foot-long  wooden  rulers ; 
while  one  boy  is  busily  engaged  in  counting  the  tiny  teeth 
be  has  discovered. 


ARITHMETIC.— PRACTICE    WORK.  633 

Every  one  seems  entirely  absorbed,  and  every  one  looks 
eager  and  happy. 

The  queen-bee  of  this  busy  hive— the  teacher— is  busy  too, 
passing  quietly  around  among  her  workers,  instructing, — 
"Children,  if  you  call  the  duck  it  at  first,  call  it  so  all  the- 
way  through  your  description."  Or — "  If  you  speak  of  the 
duck  as  he,  don't  change  to  it  as  you  go  on.  The  color  of 
his  wings  is  black  and  white,  Anna."  Counselling,— "I 
wouldn't  begin  all  my  sentences  with  it.  I  should  say  web- 
footed;"  this  to  a  child  who  had  written  "webbed-footed." 
Admonishing,— "Take  care  not  to  leave  out  any  of  your 
words:"  and  again,— "Put  things  together  that  belong 
together,  and  don't  make  so  many  short  sentences,  class." 
Once  in  a  while,  a  broad  hint  is  given  like  the  following : 
"Some  of  my  pupils  seem  to  have  forgotten  the  way  to 
describe  a  bird.  Mary,  you  may  tell  them." 

"Begin  at  the  head,"  directs  the  girl;  "and  follow  along 
down  the  back,  then  you  take  the  under  side  the  same  way 
and  go  to  its  feet." 

In  about  twenty  minutes  from  the  time  they  began, 
several  of  the  writers  have  completed  their  descriptions, 
which  they  carry — together  with  their  long  lead-pencils — to 
the  teacher's  desk,  laying  the  papers  all  together  on  the  top, 
and  putting  the  pencils  in  the  drawer  beneath.  Then  each 
returns  to  his  seat,  and  without  a  look  or  a  word  from  the 
teacher,  or  an  instant's  pause,  takes  out  slate  and  pencil, 
and  begins  to  copy  and  perform  the  problems,  placed  upon 
the  right-hand  blackboard. 

As  fast  as  they  finish,  the  other  children  follow  suit,  until 
the  time  allowed  for  the  language  lesson  having  expired, 
the  teacher,  taking  her  place  at  the  front,  calls  for  the  papers 
not  yet  handed  in,  and  has  copies  of  a  child's  Geography 
distributed  to  the  first  division  to  read  from,  and  a  lesson 
in  that  begins;  while  the  second  division  are  left  to  their 
Busy- Work,— the  setting  down  and  solving  of  the  examples 


634     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

just  referred  to.  These  they  found,  elegantly  written,  and 
lined  off  with  colored  crayons,  when  they  first  entered 
the  schoolroom  this  morning;  and  were  told  just  previous 
to  the  language  lesson,  that  at  half-past  eleven  they  were 
expected  to  have  the  problems  all  performed.  Here  is  a 
copy  of  them  as  they  stood. 

FRAO. 

*  +  |  +  £  +  * 
f-l 


ADD. 

891      1000      $4.96      $150.05 
217       218       1.76         .024- 
580       400        .03        1.00 
146        49       1.05        7575 
300      7218      50.00       40000 

1.68 
11.11 
1.05* 
.37 

370.07 

10.10 

1.89 

16.16 

3.75 

18.00 

9.50 


SUB. 

218 

500 

159     4000 

105 

1015 

197 

489 

148     376 

87 

908 

MUL. 

208 

510 

715     517 

195 

300 

56 

94 

60     203 

48 

404 

Drv. 

95)  12976  150)  2000  36)  786 

i. 

A  man  worked  for  a  mason  5  days  at  $2.25  per  day.    He  received  3  casks  of 
Ume  worth  $1.80  per  cask.    How  much  was  then  due  him? 


ARITHMETIC.— PRACTICE    WORK.  635 

ft 

Susan  had  a  dollar  to  spend  for  eggs.  She  paid  \  of  her  money  for  f  of  a 
dozen,  how  many  dozen  could  she  buy? 

3. 

How  many  bu.  of  potatoes  at  72c.  a  bu.  will  pay  for  12  Ibs.  of  butter  @. 
36c.  a  pound? 

4. 

In  one  cask  there  are  3  gals.  2  qts.  of  water,  in  another  9  gals.  1  pint.  How 
many  pints  of  water  in  all? 

The  opportunity  for  the  first  division  to  work  out  the 
examples,  occurs  when  the  second  are  having  (in  their 
turn)  the  Geography  Eeading  lesson. 

THE  LESSON. 

Then  recess  comes  and  passes,  the  time  slips  by,  and  just 
as  the  minute-hand  indicates  the  half  hour  before  twelve, 
the  teacher — from  her  position  by  the  desk — without  so 
much  as  a  preliminary  "  Ready!"  to  the  roomful,  many  of 
whom  are  still  ciphering,  begins  her  examination  of  the 
Busy -Work  by  saying  quietly,  "Lucy,  read  the  answer  to 
the  first  example  in  fractions." 

Rising, — slate  in  hand,  Lucy  gives  her  shoulders  a  slight 
shake  into  position,  looks  at  the  figures  before  her,  lifts  her 
head,  and  announces  clearly  and  distinctly,— "One,  and  ten 
twelfths." 

"How  many  have  the  same?"  All  the  hands  are  raised. 
"That  is  right,"  is  the  teacher's  decision.  "Daniel,  the 
second." 

"Four  forty-fifths,"  reads  the  lad,  taking,— as  does  each 
child  called  upon,  the  proper  position  before  he  speaks. 

Instantly,  without  waiting  for  the  teacher  to  call  for 
them,  the  hands  go  up  all  over  the  room.  With  a  single 
swift  glance  to  see  if  all  are  raised,  she  pronounces  tersely 
"  Right!"  and  specifies  the  next  reader.  Thus  she  proceeds 
without  pause,  until  they  come  to  the  last  example  in  sub- 
traction. 


636     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

Marion  reading  the  answer  gives,  "One  hundred  and 
seven !"  for  remainder. 

"Eight!"  declares  the  teacher,  but  one  hand  does  not 
rise  with  the  rest,  for  all  that.  John, — the  owner,  is  called 
upon  to  name  his  result. 

"  I  have  one  hundred  and  seventeen,"  reports  the  boy. 

"Show  us  how  you  got  it,"  is  the  teacher's  demand. 

John  steps  briskly  to  the  nearest  blackboard  and  writes— 
while  all  the  others  watch — 1015  for  his  minuend,  and  908 
for  his  subtrahend,  draws  a  line  beneath  and  begins  to  sub- 
tract. 

"  I  can't  take  eight  from  five,  so  I  call  it  fifteen.  Eight 
from  fifteen  leaves  seven.  Nothing  from  one  leaves  one." 
Here  he  stops,  colors  slightly,  and  turning  toward  the 
teacher  explains,— "I  forgot  I  took  that  one  and  put  it  with 
the  five  to  make  fifteen;  that  would  make  this"— pointing 
to  the  first  figure  one — "a  cipher." 

"  Then  what  would  your  answer  be?"  queries  the  teacher. 

"  One  hundred  and  seven,"  admits  John. 

Two  other  mistakes  are  discovered,  and  rectified  in  the 
same  manner,  during  the  examination  of  the  examples. 
When  these  have  all  been  gone  over,  the  teacher  notifies,— 
"  Now  we  will  take  the  problems,"  adding  her  preliminary 
mandate,— "Exchange  slates  across  the  room,  beginning 
with  the  right !" 

Speedily,  the  girl  sitting  at  the  teacher's  extreme  right  in 
the  front  row,  passes  her  slate  to  her  right-hand  neighbor, 
and  then  goes  back  to  receive  the  slate  of  the  last  child  in. 
the  room.  Meantime  the  front  row  having  sent  their  slates 
to  the  right,  the  end  boy  hands  his  to  the  one  sitting  behind 
him,  and  that  row  passes  theirs  to  the  left;  and  the  next 
row  back  to  the  light.  Thus  the  slates  zigzag  across  the 
room  swiftly,  till  all  the  children  are  supplied,  and  the  head 
girl  with  the  foot  boy's  slate,  returns  to  her  seat. 

The  moment  the  teacher  sees  the  bodies  of  her  pupils  once 


ARITHMETIC.— PRACTICE    WORK.  637 

more  stationary,  she  starts  their  minds  to  moving,  with  the 
proposal,  "Ben  may  read  the  first  problem  from  the  black- 
board." 

Standing  by  his  seat,  the  boy  states  the  conditions  of  the 
question  in  so  easy  and  natural  a  manner,  that  it  seems  like 
talking. 

"  Blanche  may  tell  me  the  answer." 

"  Five  dollars  and  eighty-five  cents  are  due  him  now,"  re- 
sponds that  maiden. 

' '  Ida,  you  may  go  to  the  board  and  do  it  for  us.  Frances 
read  the  second;"  which  she  does  in  good  style.  "  Hosmer, 
give  the  answer. — Helen,  you  may  put  the  work  upon  the 
board." 

Thus  rapidly  the  teacher, — like  a  good  general,  deploys 
her  forces  and  covers  her  ground. 

"  Return  slates !"  is  her  next  order,  issued  when  the  last 
problem  has  been  read,  the  answer  given,  and  a  child  sent 
to  the  board  to  work  it  out.  "All  those  who  have  mistakes 
may  rise!"  Several  stand.  "Look  at  the  blackboard,  and 
we  will  help  you,"  is  the  comforting  assurance  of  the 
teacher  as  she  turns  toward  the  board,  and  says  to  the 
pupil  to  whom  was  given  the  first  problem,  and  who  has 
remained  at  the  board  ah*  the  time, — "  Ida,  let  us  hear  about 
your  question.  What  is  it?" 

Ida  reads  the  problem. 

"  Alonzo,"  addressing  one  of  the  standing  children;  "  tell 
me  what  it  tells  you." 

"It  says  that  a  man  worked  five  days  at  two  dollars  and 
twenty-five  cents  a  day." 

"Anna,"  turning  toward  another  of  the  mistaken  ones; 
"  are  we  told  anything  else?" 

"Yes'm;  that  he  received  three  casks  of  lime  at  one 
dollar  and  eighty  cents  a  cask." 

"Then  what,  Grace?"  inquires  the  teacher,  still  intent 
upon  her  slow  pupils. 


638     THE   "  QUINCY  METHODS"  ILLUSTRATED. 

"I  want  to  find  out  how  much  more  he  ought  to  have,  to 
pay  him  for  his  work." 

"That  is  right.    What  shall  we  find  first,  Frank?" 

"  How  much  money  he  ought  to  have  for  five  days*  work," 
replies  the  boy,  who  failed  in  one  of  his  problems. 

"  And  how  much  does  Ida  say  it  is?"  pursues  the  teacher, 
still  talking  to  Frank,  who  looks  at  the  work  referred  to, 
and  reads,— 

"Eleven  dollars  and  twenty-five  cents." 

"  Class,  did  Ida  do  the  work  right?" 

"  Yes'm,"  agree  they  all  together. 

"Henry  [another  of  the  standing],  what  next  shall  we 
find?" 

"How  much  the  lime  was  worth  that  he  received." 

"  Margaret,  did  that  pay  him  for  his  work?" 

"No'm,"  asserts  Margaret,  who  has  been  listening  and 
watching,  all  eyes  and  ears,  to  see  where  her  blunder  was. 

"  What  shall  we  do  to  find  out  how  much  more  he  ought 
to  have,  Margaret?" 

1 '  Take  that  out  of  eleven  dollars  and  twenty-five  cents, 
and  see  what  there  is  left?" 

"You  may  look  at  Ida's  work  and  tell  me  what  is  left, 
Frank." 

This  brings  the  boy,— whose  attention  had  wandered  for 
a  moment,  back  to  the  work  in  hand,  and  after  an  instant's 
pause  he  reads,—"  Five  dollars  and  eighty-five  cents." 

"  How  many  of  those  standing  had  that  wrong?" 

Two  out  of  the  six  erring  ones,  raise  their  ha/ids,— Mar- 
garet and  Frank. 

"I  wish  you  would  notice  carefully  how  that  is  done,  and 
do  it  again  before  you  go  home.  Did  any  of  you  have  the 
second  wrong?" 

Three  of  the  remaining  standers-up,  signify  that  they  had. 

"Children,"  talking  to  the  class;  "is  Helen's  work  (the 
second  problem)  on  the  bonrd  all  right?" 


ARITHMETIC.— PRACTICE    WORK.  639 

After  a  short  but  keen  scrutiny  the  chorus  concludes, 
"Yes'm!" 

"How  many  of  you  did  it  the  same  way?"  All  except  the 
three  who  were  wrong. 

The  two  other  problems  are  disposed  of  in  similar  fashion 
to  the  second;  then  the  teacher  announces, — "Emilie,  Lil- 
lian, Lelia  and  Ellen  may  be  teachers.  Lillian,  you  shall 
teach  Anna;  Emilie  take  Grace;  Ellen,  Henry,  and  Lelia, 
Alonzo.— The  rest  of  the  class,  except  Margaret  and  Frank 
who  are  to  work  on  the  first  problem,  may  spend  the  five 
minutes  before  it  is  time  to  go  home,  in  copying  our  proverb 
for  the  week,  into  their  scrap-books." 

This  is  evidently  a  welcome  permission,  and  the  aforesaid 
scrap-books  (made  of  ruled  manilla  paper  tied  together  with 
narrow  red  ribbon)  are  brought  forth  with  pleased  alacrity, 
and  pens  are  investigated  with  much  solicitude.  Then  with 
one  long  steady  stare  at  the  saying,— "  By  the  Street  of 
Bye-and-Bye,  one  arrives  at  the  house  of  Never,"  which  is 
exquisitely  written  on  the  blackboard  back  of  the  teacher's 
desk,  they  go  to  work. 

In  the  meantime,  the  young  instructors  have  taken  their 
places  side  by  side  with  their  pupils,  with  whom  they  are 
whispering  earnestly  as  they  work  out  the  troublesome 
problems;  while  Margaret  and  Frank  with  an  occasional 
glance  at  the  blackboard,  correct  their  mistakes  by  them- 
selves. 

Notes  and  Comments. 

"Education  is  the  generation  of  power."  From  day  to 
day ;  from  hour  to  hour ;  even  from  minute  to  minute  for 
nearly  four  years,  a  force  has  been  brought  to  bear  upon 
these  children  while  in  the  schoolroom,  impelling  them  to 
do.  This  force,  which  at  its  best,  is  as  imperceptible  and 
as  irresistible  as  the  force  of  gravitation,  has  been  felt  in  a 


640     THE   ' '  Q UINC Y  ME THODS "   1LLUS TRA  TED. 

thousand  ways ;  but  it  has  had  one  constant  characteristic ; 
—it  has  always  been  accompanied  by  an  emotion  of  pleasure. 
That  is,  the  work  given  these  pupils,  has  been  so  well 
adapted  to  satisfy  the  demands  of  their  natures  for  activ- 
ity in  various  ways,  that  to  do,  has  been  a  delight ;  and  the 
right  thing  has  been  made  so  attractive,  that  there  has  been 
no  temptation  to  do  the  wrong.  Thus  little  by  little  these 
children  have  been  led  on— lured  if  the  disciples  of  the  pain- 
ful school  of  teaching  prefer — to  form  the  habit  of  doing 
with  all  their  small  might  whatsoever  their  hands  or  their 
heads  find  to  do.  In  brief,  they  have  learned  to  work. 
But  this  is  not  the  ultimatum  either  of  aim  or  accomplish- 
ment. Through  work— the  proper  exercise  of  their  facul- 
ties—they have  gained  power ;  power  to  think,  power  to  do ; 
and  every  lesson  presented,  every  task  assigned  has  had, 
back  of  the  acquisition  of  knowledge,  beyond  the  attainment 
of  skill,  this  motive  and  end, — the  generation  of  power.  So 
in  this  exercise;  the  solution  of  the  simple  problems  pre- 
sented, is  a  matter  of  small  moment,  except  so  far  as  the 
exercise  of  reason  involved,  shall  increase  the  strength  of 
the  pupils  to  grapple  with  other  and  more  difficult  ques- 
tions, which  they  must  inevitably  meet  in  the  great  world 
outside. 


OHAPTEE  III. 

GEOGRAPHY  AND  HISTORY.  — A   COMBINATION 
LESSON. 

PURPOSE  OF  THE  LESSON.— (1)  To  build  character. 

(2)  To  do  this  through  the  teaching  of  the  common  school 
branches. 

PREPARATION  MADE  BY  THE  TEACHER.—  Much  study  of  ways 
and  means,  backed  by  strong  convictions  and  a  persistent 
will. 

PREPARA  TION  MADE  BY  THE  PUP/LS.—An  infinitesimal  amount 
of  reading,  a  similar  quantity  of  hearsay  evidence,  a  few 
inherited  prejudices,  and  the  common  weaknesses  of  human 
nature  on  the  one  side ;  balanced  on  the  other,  by  four  years 
of  moral  training  in  the  schoolroom. 

PLAN  OF  THE  LESSON. —First.  Place  upon  the  board  at 
noon,  the  Golden  Rule  in  verse,  and  have  the  children  read 
it  together,  before  school  begins. 

Second.  After  the  Drawing  lesson,  let  them  sing  the 
"  Geography  Song"  from  Liliput  Lectures. 

Third.  Have  an  exercise  in  Gymnastics,  to  put  the  pupils 
in  good  condition  for  the  work  which  is  to  follow. 

Fourth.  Review  the  Reading  of  the  week,  by  having  sev- 
eral different  pupils  stand,  to  be  questioned  by  the  rest. 

Fifth.  Call  upon  a  couple  of  children,  to  read  to  the  class 
two  pages  more  about  the  Puritans,  closing  with  the  account 
of  the  kindness  of  the  Indians  to  them.  Thus  introduce  the 
subject  to  be  discussed. 


642     THE   "QUINCY  METHODS"  ILLUSTRATED. 

Sixth.  Draw  from  the  pupils,  all  the  points  possible,  rela- 
tive to  the  food,  shelter,  clothing,  weapons,  and  implements, 
of  the  Indians. 

Seventh.  Let  the  class  illustrate  the  conversation,  by 
drawing  or  modelling  the  plants,  animals,  and  implements 
mentioned,  as  far  as  they  are  able ;  and  send  two  pupils  to 
the  sand-table  to  mould  a  headland,  and  the  land  as  it  looks 
at  Plymouth. 

Eighth.  Try  to  lead  the  children  to  recognize  the  wrong 
done  to  the  Indians,  by  the  white  man. 

Ninth.  Emphasize  the  point,  by  telling  about  Ellen  and 
her  little  sister,  and  thus  punish  Ellen  for  her  selfishness. 

Tenth.  Close,  by  giving  the  class  the  "Speech  of  Black 
Hawk." 

BEFORE  THE  LESSON. 

"  When  doubtful  which  is  right,  which  wrong, 

This  you  can  safely  do; 
Do  unto  others  as  you  would 
That  they  should  do  to  you." 

It  is  the  pupils  of  the  A  Primary  in  the  Dickinson  School, 
who  are  reading  these  lines,  and  their  fresh  young  voices— 
softly  modulated,  yet  clear— ring  out  in  perfect  unison. 

"That  is  our  next  stanza  to  learn,"  announces  the  teacher, 
as  the  last  word  is  spoken,  and  the  readers  drop  their  eyes 
from  the  couplet,  which  is  written  in  the  place  of  honor, 
high  on  the  front  blackboard. 

"Now  children,"  as  the  gong  strikes  for  the  afternoon 
session  to  begin;  "let  us  see  how  well  wo  can  close  up  the 
week.  Just  think !  we  have  only  one  more  before  vacation, 
after  to-day,  and  we  must  get  all  the  good  we  can,  from  the 
time  that  is  left.  Naomi  and  Preston,  Persis  and  Ira,  please 
distribute  these  roses  to  the  class  as  quickly  as  you  can ;  a 
rose  and  a  spray  of  leaves  to  each  one."  Then  as  the  pupils 


GEOGRAPHY  AND  HISTORY.  643 

named,  come  for  the  four  bunches  of  wild  roses  and  leaves 
that  lie  upon  her  desk,  she  adds,— "Nancy  and  Orion,  will 
you  please  pass  the  drawing  paper,  pencils,  and  erasers?" 

As  the  young  artists  are  given  their  roses,  each  one  groups 
the  flower  and  its  leaves,  according  to  his  idea  of  artistic 
effect ;  and  the  moment  he  receives  his  small  sheet  of  draw- 
ing paper,  well  sharpened  pencil,  and  pointed  piece  of  rub- 
ber, goes  to  work. 

"Write  your  names  the  first  thing,"  directs  the  teacher, 
as  she  starts  upon  her  rounds  among  the  busy  drawers. 

For  three  quarters  of  an  hour  the  silence  is  unbroken, 
except  by  the  teacher's  quiet  footfall,  and  an  occasional  sen- 
tence of  suggestion  given  in  an  undertone,  addressed  only 
to  the  ear  of  the  absorbed  sketcher  who  needed  it ;  or  now 
and  then,  a  half -whispered  word  of  praise,  bestowed  on  some 
especially  painstaking  pupil. 

Prompt  to  the  appointed  second,  the  drawings  and  imple- 
ments are  speedily  collected,  when,  without  a  word  of  warn- 
ing, the  teacher  seating  herself  at  the  piano,  strikes  a  strong 
swift  chord.  With  one  impulse,  the  children — stirring  lan- 
guidly in  their  seats  after  their  long  sitting — spring  to  their 
places  in  the  aisles,  and  stand  tense  and  tall  in  fine  military 
position.  The  doors  and  windows  are  already  open,  and  the 
blossom-scented  breeze  of  June,  sways  with  a  soft  rustling 
sound  the  leaves  of  a  tree  near  by.  Then  comes  another 
chord.  Every  pair  of  hands  in  the  room,  doubles  into  the 
firmest  of  fists  and  comes  to  the  chest,  as  if  moved  by  elec- 
tricity. Now  the  teacher  strikes  up  a  lively  tune,  and  as 
her  fingers  dance  over  the  keys,  the  small  gymnasts,  moving 
in  time  to  every  beat,  begin  to  brighten  and  glow  with  the 
vigorous  exercise. 

When,  in  five  minutes  from  the  first,  the  closing  chords 
are  struck,  soft  and  low,  and  the  pupils  drop  their  hands  at 
their  sides  and  sit,  the  room  is  full  of  children  all  alive  from 
top  to  toe. 


>44     THE    "QUINCY  METHODS"   ILLUSTRATED. 

But  the  teacher  does  not  rise  or  speak ;  she  only  runs  her 
hands  carelessly  over  the  keys  for  a  moment,  till  her  chorus 
get  their  breath,  and  then  breaks  out  into  song. 

"Great,  wide,  beautiful,  wonderful  world," 

she  warbles,  and  all  the  children  chime  in  sweetly,  clearly, — 

"  With  the  wonderful  water  round  you  curled, 
And  the  wonderful  grass  upon  your  breast ; 
World,  you  are  beautifully  dressed." 

So  they  sing  on,  through  the  remaining  stanzas,  winding  up 
with  those  loveliest  lines  of  all ; 

"  You  are  more  than  the  earth,  though  you  are  such  a  dot, 
You  can  love  and  think,  and  the  world  cannot;" 

A  most  charming  prelude  to  that  which  is  to  follow. 

THE  LESSON. 

"  Now  I  think,"  observes  the  teacher,  rising  from  her  seat 
at  the  piano  and  coming  forward;  "  that  we  will  have  a  re- 
view of  all  we  have  been  reading  this  week.  Who  is  ready 
to  tell  me  what  it  was  about?  Harriet." 

"  About  our  country." 

"  Mention  one  thing  that  you  remember,  Maria." 

''When  people  first  began  to  live  in  this  country,  they 
lived  on  a  narrow  strip  of  land  all  along  the  sea-coast." 

"Well,  Olive." 

"I  think  the  people  who  lived  here  first,  lived  all  over 
the  country;  they  were  the  Indians." 

"  What  have  you  to  say  to  that,  Maria?" 

"I  meant  the  first  white  people." 

"  Do  you  agree  now,  Olive?" 

"  Yes'm,"  responds  the  objector. 

uWhat  else  did  you  read  about?"  urges  the  teacher. 
"Louisa." 

"  The  first  settlers." 

"What  of  them?   Jane." 

1  'They  were  not  used  to  sailing  across  the  ocean,  and  they 
didn't  know  the  way,  nor  where  they  were  going  to  land;  so 


GEOGRAPHY  AND  HISTORY.  645 

they  happened  to  come  up  here  where  the  shore  was  rough 
and  rocky  and  covered  with  ice  and  snow." 

"  Of  whom  is  Jane  speaking,  class?" 

"  The  Puritans!"  declare  the  chorus. 

"  You  should  talk  well,  about  these  people,  children,"  con- 
tinues the  teacher;  "for  I  found  some  very  good  papers 
among  those  that  you  wrote  upon  the  Puritans,  yesterday. 
Who  is  willing  to  stand  up  and  let  the  others  question  him? 
Emory.  Think  what  you  are  going  to  say,  before  you 
speak,  children,  and  don't  ask  him  anything  that  he  can 
answer  by  yes  or  no. " 

Thus  exhorted,  the  class  put  up  their  hands  a  little  slowly. 

"Caroline,  you  may  give  the  first  question." 

"What  made  the  Puritans  come  across  the  ocean  to 
this  country?" 

"Because,"  answers  Emory;  "they  wanted  to  worship 
God  in  their  own  way,  and  they  wouldn't  let  them  in  Eng- 
land. Then  the  Puritans  went  to  Holland,  but  they  didn't 
like  to  live  there,  so  they  came  over  here." 

"Eliza." 

"What  kind  of  people  were  the  Puritans?" 

"  They  were  brave  and  good." 

"Ora." 

"What  did  they  find  when  they  reached  here?" 

"  Bleak  headlands,  and  rocky  shores  covered  with  ice  and 
snow." 

"  Who  can  remember  how  the  headland  looked,  that  we 
moulded  the  other  day?"  All  the  hands  go  up.  "  How  was 
it  made,  Ellen?" 

"First,  we  moulded  a  fiat  cape,  and  then  we  put  more 
sand  on,  and  made  it  high." 

"Yes.  Emory  seems  to  know  the  answers  to  all  our 
questions,  who  would  like  to  take  his  place?  Eugene." 

The  boy  rises,  and  Henry  inquires,  "How  did  the  Puritans 
get  here?" 


646     THE    "QUINCY  METHODS"   ILLUSTRATED. 

"  They  sailed  over  in  a  vessel  called  the  Mayflower," 
replies  Eugene. 

"  Where  did  they  land?"  questions  Helen. 

"  On  the  coast  of  New  England." 

But  Helen,  like  many  another  questioner,  has  but  one 
idea  of  an  answer,  and  that  is  her  own,  which  the  respon- 
dent did  not  happen  to  give;  therefore  she  still  stands 
waiting. 

"  Can  you  tell  her  anything  else,  Eugene?"  says  the  teach- 
er. 

"The  place  was  named  Plymouth." 

This  is  accepted  by  Helen,  who  sits  as  Amelia— at  a  signal 
from  the  teacher — rises  to  inquire  precisely, — "  What  time 
of  the  year  did  this  happen?" 

"In  the  winter;  in  December." 

"That's  very  well,  Eugene.  Who  else  wishes  to  be  ques- 
tioned? Charley." 

"  What  kind  of  a  place  was  it  where  they  lived?"  cate- 
chises Emily. 

"  Very  rocky;  and  the  one  they  first  stepped  on  is  called 
Plymouth  Rock,"  informs  Charley. 

"Was  there  anything  else  to  be  seen,"  interrogates  Eva, 
"besides  rocks?" 

"  Rocks,"  repeats  Charley;  "  and  snow  and  ice,"— slowly, 
as  if  reviewing  the  scene  with  his  mind's  eye:  "  O  yes  I  and 
pine  woods." 

"What  kind  of  animals  lived  here  then?"  is  what  Frank 
desires  to  know. 

"Bears,  deer,  wolves,"— so  far  glibly,  but  now  Charley 
hesitates,  and  after— "woodchucks,"— comes  to  a  complete 
stand-still. 

"Who  can  think  of  any  others?"  asks  the  teacher,  while 
Charley  retires  to  private  life  again,  and  Irus  takes  the 
floor  to  add,— 

"Rabbits,  squirrels,  and  skunks." 


GEOGRAPHY  AND  HISTORY.  647 

*:Now  some  questions  for  Irus,"  demands  the  teacher. 

"  Ida,  yours?" 

"  What  was  the  first  thing  the  Puritans  did?" 

"  They  had  to  build  log-houses  to  keep  from  freezing." 

Inez  raises  her  hand  to  put  the  question,—''  What  kind  of 
clothes  did  the  Puritans  wear?" 

"Very  plain  clothes,"  is  all  Irus  has  to  say,  accordingly 
the  teacher  works  for  details,  thus : 

"  How  many  can  think  just  how  the  people  looked,  in  that 
picture  of  the  Puritans  going  to  church,  that  I  brought  to 
school  to  show  you?"  Most  of  the  class  apparently.  "  Fred, 
shut  your  eyes,  and  describe  the  dress  of  the  men." 

"They  had  short  pants,  that  came  down  just  over  their 
knees,  and  were  tied  with  ribbons,"  begins  the  boy,  naming 
naturally,  the  thing  first  which  was  the  strangest  in  his 
sight;  "and  low  shoes, "  he .  continues ;  "and  short  coats, 
with  belts  around  their  waists,  and  tall  peaked  hats,  and 
every  one  carried  a  gun. " 

"Hattie,  what  have  you  to  add?" 

"Fred  didn't  speak  about  their  collars;  they  were  very 
large  and  white." 

"Well,  Eda." 

"Some  of  them  had  cloaks  that  looked  like  capes  hung  on 
behind." 

"Yes.  Eda,  see  if  you  can  give  us  as  good  an  idea  of 
what  the  women  wore." 

"They  didn't  have  any  overskirts,"  the  young  woman 
affirms  with  a  negative;  "  and  they  had  towels  tied  on  their 
heads,  and  large,  white  handkerchiefs  over  their  shoulders, 
and  cloaks  that  came  clear  down  to  the  bottoms  of  their 
dresses." 

"One  of  them  had  a  great  big  white  apron  on,"  supple- 
ments George;  and  Willie  adds  further,— 

' '  The  little  girl  had  a  long  dress  just  like  her  mother's ;" 
while  Hurd  says  the  last  word,  which  is, — 


648     THE    "QUINCY  METHODS"   ILLUSTRATED. 

1 '  The  little  boys  wear  the  same  kind  of  clothes  that  the 
men  do,  all  except  the  hat,  and  that's  a  cap." 

1 '  You  have  done  very  well, "  commends  the  teacher ;  ' '  both 
in  questioning  and  answering.  I  think  you  have  told  pretty 
much  all  that  you  know  about  the  Puritans.  Would  you 
like  to  learn  something  more?" 

The  response  is  a  full  and  emphatic  affirmative. 

"  Grace,  you  may  read  a  page  to  us  from  this  little  book." 

When  this  paragraph  of  history — containing  a  simple, 
brief  account  of  that  terrible  first  winter,  with  its  sickness 
and  death,  and  its  suffering  worse  than  death — which  is  read 
with  expression,  and  listened  to  with  the  most  absorbed  at- 
tention, is  concluded ;  the  book  is  transferred  to  Will,  who 
goes  on  with  the  tale,  telling  how  Samoset  came  with  his 
cheery  "Welcome  English!"  to  visit  the  Puritans,  and  the 
friendly  Massasoit  brought  them  corn  and  beans  to  plant. 

At  this  point  the  book  is  laid  aside,  and  the  teacher  takes 
the  floor. 

"Now  children,  sit  up  beautifully  straight,  and  we  will 
have  a  talk  together.  Wasn't  it  a  little  strange  that  these 
Indians,  who  were  so  kind  in  other  ways,  didn't  take  the 
women  and  children  right  home  to  live  with  them,  till  the 
Puritans  got  their  log-cabins  ready?  Nellie." 

"The  Indians  couldn't;  they  didn't  have  any  houses 
themselves." 

* '  Then  what  did  they  live  in?    Thaddeus. " 

"  A  sort  of  a  tent  called  a  wigwam,  I've  seen  pictures  of 
them." 

"Lill." 

"  I  saw  a  real  one,  once." 

"  Can  you  tell  us  how  it  looked?" 

"There  were  some  sticks  stuck  around  in  the  ground, 
and  they  seemed  to  be  fastened  together  at  the  top,  and 
there  was  something  put  all  over  to  cover  them,  and  it 
looked  a  good  deal  like  a  tent." 


GEOGRAPHY  AND  HISTORY.  649 

"Does  any  one  know  what  the  Indians  used  to  make  their 
wigwams  of?  Truman." 

"  I  read  in  a  book  that  they  covered  them  with  bark." 

'  *  I  thought, "  maintains  William ;  ' '  tha,t  they  used  skins. " 

"So  they  did,  "assures  the  teacher;  "and  sometimes 
branches  of  trees."  • 

" Maybe, "  assumes  Matilda;  "they  made  their  wigwams 
of  skins  in  the  winter,  and  branches  of  trees  in  the  summer." 

"  Quite  likely.    What  kinds  of  skins  could  they  get,  Alex?" 

"Bear-skins  would  be  the  largest,  but  they  might  get  a 
wliole  lot  of  little  skins  like  wolf -skins,  or  woodchuck- skins, 
if  they  didn't  happen  to  find  any  bears." 

'  k  The  Puritans  shot  these  animals  when  they  wanted  to 
kill  them,  but  the  Indians  had  no  guns ;  do  you  know  what 
they  used  ?  Agnes. " 

"  Bows  and  arrows." 

"  Have  any  of  you  ever  seen  an  Indian's  bow  and  arrow? 
Mary  has ;  tell  us  how  they  are  made." 

"The  bow  was  large  and  strong,  and  the  arrow  had  a 
sharp  head  made  of  stone." 

"Was  the  stone,  granite,  Mary?" 

"No'm;  I  don't  know  what  it  was." 

"  Would  you  like  to  see  a  stone  arrow-head,  children?" 

"  Yes'm?"  is  the  ready  response. 

"  I  have  two  or  three  at  home.  I'll  bring  them  some  day 
next  week.  The  Indians  fastened  these  to  their  arrows, 
with  the  sinews  of  the  deer,  which  they  also  used  to  string 
their  bows  with.  They  had  still  another  way  of  obtaining 
animals,  just  as  people  sometimes  get  rabbits  nowadays." 

"Trap  them!"  call  out  the  boys  with  one  consent. 

"  The  Indians  wanted  these  animals  for  two  things:  first, 
for—" 

" Their  skins!"  recite  the  class  in  concert. 

"  And  these  they  used  for  what,  Thomas?" 

"To  cover  their  tents." 


656     THE   "QUINCY  METHODS"  ILLUSTRATED. 

"What  else  did  they  need  skins  for?  the  same  purpose 
that  Robinson  Crusoe  did, — Annie." 

" For  clothing." 

"Yes,  but  the  Indians  caught  and  killed  animals,  for 
something  besides  their  skins;  Pierce." 

"To  eat." 

"Right,  for  food.  Can  you  think  of  anything  else  they 
could  get  to  eat,  class?" 

' '  Corn !"     "  Pumpkins !"     "  Berries !" 

"  Well?"  prompts  the  teacher. 

"Clams!"  declares  a  voice,  which  suggests  to  several, — 
"Fish!" 

"  To  catch  the  fish,"  continues  the  teacher;  "  the  Indians 
must  have  had  some  sort  of  a  boat ;  who  can  tell  us  about 
it?  Ames." 

"  It  was  called  a  canoe." 

"Yes.    Do  you  know  what  it  was  made  of,  Ames?" 

"In  a  story  I  read,  it  told  about  an  Indian  who  went 
down  the  river  in  his  birch-bark  canoe." 

"We  know  then,  one  kind  of  a  tree  that  grew  in  this 
country  years  ago,  and  that  was  the—" 

"  Birch-tree,"  specify  the  children  altogether. 

"  It  grows  here  now,  and  so  does — 

At  this  invitation  from  the  teacher,  every  pupil  in  the 
room  commences  to  talk,  and  out  of  the  confusion  of 
tongues,  can  be  distinguished  the  following  names. 

"  Pine !"  "  Hemlock !"  "  Maple !"  "  Oak !"  "  Ash !" 
"Basswood!"  "Beech!"  "Elm!"  "Cedar!"  "Chestnut!" 

"I  thought,  children,"  pursues  the  teacher  placidly,  as 
the  "  Babel"  subsides,  each  pupil  having  given  the  name  of 
every  tree  he  could  think  of;  "that  for  our  reading  next 
week,  we  would  take  the  Indians.  We  have  learned  a  little 
about  them  now,  and  we  would  like  to  learn  more."  This 
with  a  half  interrogation,  to  which  the  class  respond  by  a 


GEOGRAPHY  AND  HISTORY.  651 

murmur  of  assent.  "Suppose  you  show  me  by  drawings, 
What  you  know  already.  How  many  would  like  to?" 

The  indications  of  a  desire  to  follow  the  teacher's  sugges- 
tion, are  universal  and  energetic,  even  to  the  verge  of  enthuj 
siasm. 

"What  will  you  do,  Frank?" 

"I'll  draw  a  how  and  arrow." 

"That's  just  what  I  want;  go  to  the  board  and  begin. 
Who  was  it  that  saw  the  arrow?" 

"  Mary  I"  call  out  the  children,  as  the  girl  puts  up  her  hand. 

"I'd  like  to  have  you  make  me  an  arrow-head  out  of  clay, 
just  the  size  and  shape  of  those  stone  ones  you  saw.  You 
will  find  some  clay  all  ready  in  the  closet,  with  a  wet  cloth 
over  it.  Who  can  draw -animals?  I  wish  that  I  could  have 
some  of  the  animals  sketched  that  they  kill  for  food,  cloth- 
ing, and  shelter.  Mortimer." 

"I  can  draw  a  rabbit." 

"  You  may  do  so.  What  other  kind  of  living  things  did 
we  speak  of  that  the  Indians  killed  for  food?" 

"Fish!"  is  the  class  chorus. 

"  Andrew  shall  draw  a  fish  for  me.  What  else  did  they 
have  for  food,  Austin?" 

"Indian  corn." 

"Yes,  and  you  may  try  to  make  me  a  picture  of  the 
corn  as  it  grows  in  the  fields.  Let  us  have  some  drawings 
of  the  leaves  of  the  different  kinds  of  trees  we  mentioned 
as  growing  here.  Naomi,  which  will  you  draw?" 

"The  elm  leaf." 

"Eliza,  what  is  yours?" 

"The  bass  wood." 

"Yours,  Ira?" 

"The  ash." 

"Caroline?" 

"  I  want  to  draw  the  oak." 

"Lisa?" 


652     THE    "  QUINCY  METHODS"  ILLUSTRATED. 

"  The  maple  is  the  one  I  know  the  best." 

"Persis,  can  you  draw  a  pine  tree?" 

"I'll  try." 

"  Good !  go— all  those  whom  I  have  asked  to  draw — to  the 
board  and  begin.  When  we  were  reading  about  the  Puri- 
tans a  few  days  ago,  who  was  it  that  said  he  had  been  down 
to  Plymouth?  Eugene.  Do  you  think  you  could  show  us  on 
the  moulding-board  how  the  country  looked  around  there, 
by  Plymouth  Rock?" 

"  Yes'm,  I  guess  I  could." 

"  Take  the  farther  side  of  the  moulding-board,  and  see 
what  you  can  do.  Sarah,  build  a  headland  on  the  side  of 
the  board  this  way.  Those  who  are  left  in  their  seats,  may 
take  out  their  slates  and  pencils,  and  draw  whatever  they 
choose,  of  the  different  things  we've  talked  about  this  after- 
noon. Don't  be  slow,  children;  everything  must  be  finished 
within  fiye minutes, "admonishes  the  teacher,  starting  as  she 
speaks,  upon  her  tour  of  inspection. 

"Time's  up!"  she  notifies,  as  she  picks  up  Mary's  clay 
model  of  an  arrow-head,  to  lay  it  away  to  dry.  "I  am 
generally,  very  much  pleased  with  your  work,  though  one 
or  two,  were  in  rather  too  much  of  a  hurry,  and  so  failed  to 
do  their  best.  We  have  still  a  few  minutes  left,  let  us  talk  a 
little  more  about  these  people  whom  we  are  going  to  study. 
Who  are  they,  Henrietta?" 

"The  Indians!" 

"  How  long  had  they  been  in  this  country  when  the  Puri- 
tans came?  Marion?" 

"  I  don't  know;  I  guess  they  always  lived  here." 

"Perhaps  they  did.  No  one  knows  certainly.  When 
these  white  men  landed  in  the  Indians'  country,  how  did 
the  Indians  treat  them? 

"Kindly.  They  were  good  to  them,"  is  the  unanimous 
opinion. 


GEOGRAPHY  AND  HISTORY.  653 

"The  children  of  the  Puritans  live  here  now;  where  are 
the  children  of  the  Indians?" 

" They've  gone  west !"  "They've  moved  away!"  are  the 
majority  answers;  but  the  omnipresent  slow  boy,  who 
sometimes  says  the  right  thing  at  the  right  time,  takes  his 
turn  now,  and  remarks  in  the  most  moderate,  and  matter- 
of-fact  fashion,— "  Those  that  they  didn't  kill,  the  white 
men  drove  away." 

' '  To  whom  did  all  this  land  belong,  before  the  white  men 
came?" 

"  To  the  Indians,"  assent  the  entire  class  unhesitatingly. 

"How  did  the  Indians  get  their  living?" 

"By  hunting  and  fishing!"  is  the  general  belief. 

4 '  Yes.     Where  did  they  hunt  ?" 

"In  the  woods,"  is  the  ready  reply. 

"  Children,  the  white  men  came  here  to  the  Indian's  coun- 
try, settled  on  his  land,  without  paying  him  anything  for  it, 
or  even  asking  if  they  might  have  it.  Cut  down  his  forests 
to  build  their  houses  and  keep  their  fires ;  shot  the  wild  ani- 
mals that  lived  in  these  woods,  and  often  killed  the  Indians 
themselves;  what  do  you  think  of  that?" 

This  is  such  a  sudden  sally,  coming  from  within  their 
own  gates  too,  that  the  young  women  and  men  look,  for  a 
moment,  as  if  they  were  indeed  evolving  thought.  But 
presently  Douglas  finds  an  excuse,  and  puts  it  thus  :— 

"Well,  the  Indians  killed  the  white  men;"  concluding 
triumphantly,  "and  took  their  scalps  too." 

"  That  is  true,"  grants  the  teacher;  "but  was  it  strange, 
when  the  white  men  took  everything  away  from  the  In- 
dians, and  left  them  not  even  their  land?" 

"But  this  was  a  beautiful  country,  and  the  white  men 
wanted  to  come  here  to  live,"  reasons  a  small  sophist 
eagerly. 

"So  because  they  did,  and  because  they  knew  more, 
and  because  there  were  more  of  them,  and  because 


654     THE   "QUINCY  METHODS"  ILLUSTRATED. 

they  had  guns,  it  was  right  for  them  to  do  it,  was 
it?  That  makes  me  think  of  what  I  saw  the  day  the 
menagerie  went  through  the  town.  A  little  girl  was  stand- 
ing upon  a  high  door-step,  where  she  could  have  a  good 
view  of  the  procession  when  it  passed.  Her  sister, — several 
years  older,  and  nearly  twice  as  tall,— who  was  standing  on 
the  step  below,  wanted  the  small  sister's  place,  because  it 
was  better  than  hers.  So  she  never  said  a  word,  but  got 
first  one  foot  on  the  upper  step,  then  both,  and  pushed 
and  pushed,  until— I  am  almost  ashamed  to  tell  you ;"  de- 
clares the  teacher,  pausing  in  the  midst  of  her  narrative,  to 
cast  a  keen,  penetrating  glance  across  her  indignant  audi- 
ence, at  Ellen. 

The  girl,  who  was  nervously  fidgeting  in  her  seat,  before, 
becomes— all  at  once — very  much  absorbed  in  the  contem- 
plation of  one  of  the  sketches  on  the  blackboard  close  by, 
while  shame  sends  the  crimson  color  flying  into  her  face, 
and  consciousness  of  guilt  weighs  on  her  lids  like  lead. 

"Finally,"  continues  the  teacher,  "she  crowded  her  sister 
off  into  the  street.  You  think  she  had  a  right  to,  I  suppose. " 

"No,  we  don't!"  burst  out  the  children  half  -resentfully ; 
and  then  go  on  muttering  something  about  its  being:  "A 
mean  shame!"  and  " Don't  see  what  that  has  to  do  with  the 
Indians!" 

Into  the  midst  of  these  murmurs  drops  the  teacher's 
voice,  mellow  and  tranquil,  saying  sweetly, — "So you  think 
it  was  wrong  for  one  sister  to  push  another  sister  off  her 
step  into  the  street,  but  right  for  the  white  men  to  crowd 
their  brothers— the  Indians— off  their  own  land  into  the 
poorest  places  in  the  country." 

Here  she  turns  an  abrupt,  seemingly  inadvertent  glance 
back  at  the  board  behind  her,  and  after  a  second's  pause, 
during  which  every  pair  of  eyes  in  the  room  is  scanning 
the  stanza  written  there,  she  resumes: 

"But  the  Indians  didn't  agree  with  you;  they  thought  it 


GEOGRAPHY  AND  HISTORY.  655 

cruel  and  wrong.  I'll  recite  to  you,  what  an  Indian  chief 
once  said  about  it,  and  that  will  show  you  how  they  felt, 
far  better  than  anything  else.  It  is  the  'Speech  of  Black 
Hawk.'" 

Then  leaning  a  little  forward,  her  gaze  taking  in  every 
child  in  the  room,  as  if  to  gather  them  within  her  magnetic 
grasp,  the  teacher,— in  the  words  of  the  dead  and  gone  war- 
rior,—makes,  with  all  the  power  she  possesses,  her  appeal 
for  his  countrymen,  to  these  future  citizens. 

Into  the  silence  that  follows  her  closing  words,  strikes, — 
sudden  and  sharp,  the  sound  of  the  gong  for  dismissal. 

"  Good-by,  children,"  is  her  parting  word,  spoken  with 
half  a  smile  and  half  a  sigh. 

"Good-night,  Miss  F.,"  comes  cordially  in  response;  and 
then  one  by  one,  eacfc  with  a  rose,  they  pass. 

"  Is  that  all  that  they  carry  away?"  questions  the  teacher, 
as  she  watches  them  go ;  and  she  waits  still  for  her  answer. 

Notes  and  Comments. 

Side  by  side  with  the  generation  of  power,  all  these  four 
years,  and  its  use  in  right  ways,  has  gone  the  evolution  of 
moral  ideas,— the  training  of  the  conscience.  The  clear 
seeing  has  not  been  confined  to  the  outward  observation  of 
things.  These  children  have  had  some  education  in  that 
which  leads  to  clear  insight  regarding  principles  and 
motives.  The  careful  doing  has  meant  not  merely  fine 
figures,  handsome  hand-writing  and  skilful  drawing;  but 
helpfulness,  obedience,  and  unselfishness,  as  well.  Good 
habits,  even  partially  fixed,  result  in  right  tendencies, — a 
great  gain;  and  the  trained  attention  involves  a  will  under 
discipline, — the  beginning  of  self-control.  More  than  this; 
while  the  children  have  been  taught  to  read,  to  write,  and 
to  cipher,  they  have  also,  and  by  means  of  this  teaching, 
been  trained  "to  do  justly,  and  to  love  mercy,  and  to  walk 


656     THE    "QUINCY  METHODS"   ILLUSTRATED, 

humbly."  Thus  all  these  things  which  are  required,  have 
been  done,  and  the  other  and  infinitely  more  important 
things  have  not  been  left  undone.  Such  teaching  follows 
the  thought  of  the  Great  Teacher,  —to  know  the  will,  and 
to  do  it ; — such  work  is  in  truth,  character-building. 


CHAPTER  IV. 

CONCLUSION. 

UNDER  the  old  plan  of  education,  the  pupils  began  with 
one  study— Eeading— and  increased  the  number  of  branches 
as  they  progressed  through  the  grades.  The  New  Education 
works  upon  an  exactly  contrary  idea.  Now  the  children 
commence  with  everything,  and  gradually  merge  the  many 
lines  of  work  into  a  few,  as  they  advance.  The  first  is  like 
laying  only  one  foundation-stone,  and  enlarging  the  edifice 
as  it  goes  up ;  the  other  builds  broad  the  base,  that  the  super- 
structure may  be  firm  and  massive. 

Something  of  this  thought  has  entered  into  the  plan  of  the 
present  work.  While  it  is  the  beginning  of  teaching  that  is 
most  difficult,  it  is  the  beginning  that  makes  or  mars  all 
that  follows ;  consequently,  reforms  in  teaching,  to  be  effect- 
ive, must  commence  with  the  First  Primary  Year.  Again, 
all  teachers, — from  the  lowest  primary  teacher,  who  holds 
the  post  of  honor  (which  is  here  as  elsewhere  the  post  of 
danger,  and  therefore  needs  the  most  assistance),  on  down 
to  those  of  the  highest  grammar  grades,  as  well  as  Princi- 
pals, Supervisors  and  Superintendents, — need  to  know  the 
work  which  precedes  and  underlies  every  particle  of  theirs 
and  which  is  necessarily  the  most  important  of  any.  Be- 
sides, notwithstanding  these  uncontrovertible  facts,  and  the 
still  more  vital  one, — that  the  minds  of  little  children  are 
too  plastic  and  too  precious  to  be  ignorantly  dealt  with ;  it 
is  nevertheless  true,  that  most  primary  teaching  merits 


658     THE   "Q^SA'CY  METHODS"  ILLUSTRATED. 

Shakespeare's  comment, — "Thus  bad  begins,  and  worse  re- 
mains behind."  Because  of  all  these  things,  the  lion's  share 
of  these  pages  has  been  given  to  the  illustration  of  First 
Year  teaching. 

But  there  must  be  a  limit,  even  to  the  largest  book,  hence 
the  work  of  every  branch  could  not  be  shown  in  all  the 
grades,  and  the  thought  has  been,  to  use  to  the  best  advan- 
tage the  remaining  space.  Accordingly,  as  soon  as  a  branch 
has  been  fully  illustrated  upon  the  two  points  considered, 
viz. :  the  development  of  the  study,  and  the  manner  of  its 
presentation;  it  has  been  dropped  directly,  without  regard 
to  the  grade. 

For  instance ;— Singing,  the  one  purely  aesthetic  branch 
included  in  the  common-school  curriculum,  is  represented 
only  in  the  First  Year,  while  Writing  (Penmanship),  Draw- 
ing, and  Clay  Modelling,  the  branches  involving  technical 
training,  are  not  introduced  (except  incidentally)  beyond 
the  Second  Year.  Reading,  Spelling,  and  Writing  (Com- 
position), do  not  appear  after  the  Third  Year,  because,  be- 
yond that  time,  these  need  not  be  taught  as  separate  studies. 
Botany,  and  Zoology  are  omitted  later,  partly  from  the 
fact  that  they  have  already  been  given  sufficient  space,  and 
partly  in  order  to  emphasize  the  idea  of  making  the  Natural 
Sciences  spring  from  the  study  of  Geography,  of  which  they 
are  really  an  outgrowth.  Thus,  there  are  but  two  branches, 
Number  and  Geography,  whose  teaching  remains  to  be 
described  in  the  Fourth  Year.  The  result  is,  that  this 
arrangement  fulfills  still  another  purpose,  besides  the  one 
that  has  been  mentioned :  it  serves  to  demonstrate  the  con- 
nection of  studies,  and  to  illustrate  the  unity  of  the  work. 
For,  in  the  two  lessons  given  in  the  Section  devoted  to  the 
Fourth  Year's  work,  every  branch  is  really  represented. 
To  wit:  In  the  exercise  which  precedes  the  Arithmetic 
lesson,  are  founl  the  following:  Zoology,  Writing,  Spell- 
ing, and  Language;  v  chapter  entitled  "Geography 


CONCL  t/SSOM  659 

and  History,"  comprises  Drawing  and  Botany,  which  come 
before  the  lesson ;  Gymnastics  and  Singing  which  prepare 
for  it;  Reading,  Drawing,  Modelling,  and  Moulding,  which 
are  used  to  aid  in  the  giving  of  it;  besides  the  lesson 
itself  in  Geography,  which  involves  History,  Zoology  and 
Botany. 

The  motive,  during  the  Four  Years  whose  teaching  has 
been  delineated  in  this  book,  has  been  growth; — all-sided, 
symmetrical  growth.  Mentally,  this  has  been  accomplished 
mainly  by  two  means.  First :  through  the  training  of  the 
senses,  in  order  that  the  sense  products — the  material  for 
thought — might  be  accurate  and  abundant.  Second :  by  the 
teaching  of  language,  that  the  expression  of  all  thought 
should  be  correct  and  clear.  These  have  resulted  in  the 
evolution  of  thought,  and  the  development  of  expression. 

Morally,  the  aim  has  been  to  cultivate  the  conscience  and 
educate  the  will.  The  first  was  done,  by  a  prompt  con- 
demnation of  the  wrong  and  steady  upholding  of  the  right, 
by  appealing  to  the  best  and  highest  in  child  nature  at  all 
times,  by  illustration,  by  precept,  and  last  and  most  im- 
portant of  all,— by  example.  The  education  of  the  will  has 
been  carried  on,  by  unceasing  endeavor  to  make  self-control 
habitual,  as  well  as  by  persistent  training  in  all  good 
habits, — the  most  prominent  of  which  is  the  habit  of  atten- 
tion. 

The  purpose  of  these  years  of  training,  physically,  has 
been  to  force  into  automatic  action,  all  the  technic  of  the 
work.  So  far  as  this  has  been  brought  about,  it  has  been 
effected  first:  through  the  introduction  of  the  element  of 
play;  and  later  on:  by  the  stimulus  of  the  thought  to  be 
expressed  through  the  doing.  Aside  from  the  matter  of 
position  and  carriage,  the  outcome  has  been  skill,— as 
shown  in  Drawing,  Writing,  Spelling,  etc. 

Thus  these  children  have  been  taught  to  see  and  to  say, 
to  know  and  to  do.  By  means  of  work, — absorbing,  over- 


660     THE   "QUINCY  METHODS"  ILLUSTRATED. 

lapping,  happy  work,  with  head  and  hand,  they  have  gene- 
rated power.  Led  by  desire,  that  mighty  stimulus,  they 
have  begun  to  love  the  true,  the  beautiful,  and  the  good; 
the  corner-stones  of  character  are  already  set,  the  founda- 
tions, broad  and  firm,  are  fully  laid.  The  temple  waits  for 
its  walls  to  rise, — polished  and  beautiful,  worthy  of  the  im- 
mortal spirit,  whose  outward  manifestation  it  shall  be. 

Upon  the  Primary  teachers  depends  the  future  of  the 
Republic.  It  is  time  that  the  people  of  this  country  realized 
the  fact.  Little  children,  in  schoolhouses  all  over  the  land, 
are  in  the  hands  of  the  ignorant  and  inexperienced,  the  un- 
apt and  the  weak,  the  careless  and  the  conceited.  If  this 
great  army  of  incompetents,  needs  must  be  provided  for,  let 
them  superintend  the  railroads  or  oversee  the  iron  foundries, 
make  them  the  heads  of  large  commercial  or  mercantile 
enterprises,  elect  them  Presidents  of  colleges  or  rulers  of 
"the  people,"  place  them  in  command  of  armies  or  navies, 
encourage  them  to  doctor  the  sick,  to  plead  at  the  bar,  to 
mount  the  rostrum,  even  to  enter  the  pulpit ;  but  leave  them 
no  longer  where  they  are;  holding  that  position,  the  most 
potential  for  either  good  or  evil,  of  any  public  one  the  world 
affords.  There  is  no  spot  on  earth  so  ' '  big  with  fate, "  as  that 
within  the  four  walls  of  the  Primary  schoolroom.  Only  wo- 
men and  men  with  educated  brains,  skilful  hands,  and  large 
and  loving  hearts,  should  dare  aspire  to  reign  in  that  king- 
dom; but  such  as  these,— when  they  have  proved  themselves 
pure  in  life,  noble  in  deed,  steadfast  in  will,  and  high  of  pur- 
pose,—may  safely  be  trusted  to  watch,  to  guide,  to  train, 
the  men  and  women  of  the  future.  To  such,  it  is  the  grand- 
est service  under  the  sun. 


TWENTY-FIRST   TEAR! 

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Established  20  years  ag9,  it  is  to  day  the  best  known  and 
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E.  L.  KELLOGG  &  CO.,  NEW  YORK  <k  CHICAGO.     27 

Parkers  Talks  on  Teaching. 

Notes  of  "lalkson  Teaching"  given  by  COL.  FRANCIS  W. 
PARKER  (formerly  Superintendent  of  schools  of  Quincy, 
Mass.),  before  the  Martha's  Vineyard  Institute,  Summei 
of  1882.    Reported  by  LELIA  E.  PATRIDGE.    Square  16mo, 
5x6  1-2  inches,  192  pp.,  laid  paper,  English  cloth.    Price, 
$1.25  ;  to  teachers,  $1.00  ;  by  mail,  9  cents  extra. 
The  methods  of  teaching  employed  in  the  schools  of  Quincy, 
Mass.,  were  seen  to  be  the  methods  of  nature.    As  they  were 
copied  and  explained,  they  awoke  a  great  desire  on  the  part 
of  those  who  could  not  visit  the  schools  to  know  the  underly- 
ing principles.    In  other  words,  Colonel  Parker  was  asked  to 
explain  why  he  had  his  teachers  teach  thus.    In  the  summer 
of  1882,  in  response  to  requests,  Colonel  Parker  gave  a  course 
of  lectures  before  the  Martha's  Vineyard  Institute,  and  these 
were  reported  by  Miss  Patridge,  and  published  in  this  book. 

The  book  became  famous  ; 
more  copies  were  sold  of  it  in 
the  same  tune  than  of  any 
other  educational  book  what- 
ever.  The  daily  papers,  which 
usually  pass  by  such  books 
with  a  mere  mention,  devoted 
columns  to  reviews  of  it. 

The  following  points  will 
show  why  the  teacher  will 
want  this  book. 

1.  It  explains   the   "  New 
Methods."     There  is  a  wide 
gulf  between  the  new  and  the 
old  education.     Even   school 
boards  understand  this. 

2.  It  gives  the  underlying 
principles  of  education.  For  it 

must  be  remembered  that  Col.  Parker  is  not  expounding  his 
methods,  but  the  methods  of  nature, 

8.  It  gives  the  ideas  of  a  man  who  is  evidently  an  ••  educa- 
tional genius,"  a  man  born  to  understand  and  expound  educa- 
tion. We  have  few  such  ;  they  are  worth  everything  to  the 
human  race. 

4.  It  gives  a  biography  of  Col.  Parker.    This  will  help  the 
teacher  of  education  to  comprehend  the  man  and  his  motives. 

5.  It  has  been  adopted  by  ut-arlv  every  State  Reading  Circla 


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E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.  29 

The  ^Practical  Teacher. 

Writings  of  FRANCIS  W.  PARKER,  Principal  of  Cook  Co. 
Normal  School,  111.,  and  other  educators,  among  which  is 
Joseph  Payne's  Visit  to  German  Schools,  etc.  188  large 
8vo  pages,  7XxlO>£  inches.  Cloth.  Price,  $1.50;  to 
teachers,  $1.20 ;  by  mail,  14  cents  extra.  New  edition  in 
paper  cover.  Price,  75  cents ;  to  teachers,  60  cents ;  by 
mail,  8  cents  extra. 

These  articles  contain  many  things  that  the  readers  of  the 
" Talks  on  Teaching"  desired  light  upon.  The  space  occupied 
enabled  Col.  Parker  to  state  himself  at  the  length  needed  for 
clearness.  There  is  really  here,  from  his  pen  (taking  out  the 
writings  of  others)  a  volume  of  H30  pages,  each  page  about  the 
size  of  those  in  "  Talks  on  Teaching." 

1.  -The  writings  in  this  volume  are  mainly  those  of  Col.  F. 
W.  Parker,  Principal  of  the  Cook  County  Normal  School. 

2.  Like  the  "  Talks  on  Teaching  "  so  famous,  they  deal  with 
the  principles  and  practice  of  teaching. 

3.  Those  who  own  the  "  Talks"  will  want  the  further  ideas 
from  Col.  Parker. 

4.  There  are  many  things  in  this  volume  written  in  reply  to 
inquiries  suggested  in  "  Talks." 

5.  There  is  here  really  750  pages  of  the  size  of  those  in 
"  Talks."    "  Talks  "  sells  for  $1.00.     This  for  $1.20  and  14  cents 
for  postage. 

6.  Minute  suggestions   are  made  pertaining  to  Reading, 
Questions,  Geography,  Numbers,  History,  Psychology,  Peda- 
gogics, Clay  Modeling,  Form,  Color,  etc. 

7.  Joseph  Payne's  visit  to  the  German  schools  is  given  in 
full ;  everything  from  his  pen  is  valuable. 

8.  The  whole  book  has  the  breeze  that  is  blowing  from  the 
New  Education  ideas  ;  it  is  filled  with  Col.  Parker's  spirit. 

PARTIAL  LIST  OF  CONTENTS- 

Beginnings.  Reading— laws  and  principles ;  Ruling  Slates  ;  Number 
and  Arithmetic;  Geography:  Moulding;  History;  Psychology;  Peda- 
gogics; Examinations;  Elocution;  Questioning  on  Pictures;  on  Flow- 
ers ;  on  Leaves ;  Rules  in  Language :  Answers  to  questions  respecting 
the  Spelling-Book ;  List  of  Children's  Books  on  History;  The  Child's 
Voice;  Ideas  before  Words;  Description  of  Pictures;  Teaching  of  1; 
of  2;  of  3;  of  4;  etc. ;  Form  and  Color;  Breathing  Exercises;  Paper 
Folding ;  V erbatim  report  of  lessons  given  in  Cook  Co.  Normal  School. 
Busy  Work;  Answers  to  Questions  in  Arithmetic,  etc.;  Why  teachers 
drag  out  a  monotonous  existence;  Teaching  of  language  to  children; 
Supplementary  Reading— list  of  books ;  Structural  Geography ;  Letters 
from  Germany ;  Hand  and  Eye  Training ;  Clay  Modeling ;  List  of  Edu- 
cational Works ;  Joseph  Payne^visit  to  Gterman  Schools,  etc.,  etc. 


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K  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.  45 


Teachers  Manuals  Series. 

Each  is  printed  in  large,  clear  type,  on  good  paper.     Paper 

cover,  price  15  cents;  to  teach- 
ers, 12  cents;  by  mail,  1  cent 
extra. 

There  is  a  need  of  small  vol- 
umes— "Educational  tracts,"  that 
teachers  can  carry  easily  and  study 
as  they  have  opportunity.  The 
following  numbers  have  been  al- 
ready published. 

It  should  be  noted  that  while 
our  editions  of  such  of  these  little 
books  that  are  not  written  specially 
for  this  series  are  as  low  in  price 
as  any  other,  the  side-heads,  top- 
ics, and  analyses  inserted  by  the 
editor,  as  well  as  the  excellent 
paper  and  printing,  make  them 
far  superior  in  every  way  to  any 
other  edition. 

We  would  suggest  that  city  super- 
intendents or  conductors  of  institutes 

supply  each  of  their  teachers  with  copies  of  these  little  books.    Special 

rates  for  quantities. 

No.  i.    Fitch's  Art  of  Questioning. 

By  J.  G.  FITCH,  M.A.,  author  of  "  Lectures  on  Teaching."    38  pp. 
Already  widely  known  as  the  most  useful  and  practical  essay  on  this  most 
important  part  of  the  teachers'  lesson-hearing. 

No.  2.    Pitch's  Art  of  Securing  Attention. 

By  J.  Q.  FITCH,  M.  A.    89  pp. 

Of  no  less  value  than  the  author's  "Art  of  Questioning." 

No.  3.    Sidgwick's  On  Stimulus  in  School. 

By  ARTHUR  SIDGWICK.,  M.A.    43  pp. 

"How  can  that  dull,  lazy  scholar  be  pressed  on  to  work  up  his  lessons 
with  a  will?"  This  bright  essay  will  tell  now  it  can  be  done. 

No.  4.     Yonge's  Practical  Work  in  School. 

By  CHARLOTTE  M.  YONOE,  author  of  "  Heir  of  Redclyffe,"    85  pp. 
All  who  have  read  Miss  Yonge's  books  will  be  glad  to  read  of  her  views 
on  School  Work. 

No.  5.    Fitch's  Improvement  in  the  Art  of  Teaching. 

By  J.G.  FITCH,  M.A.    &  pp. 

This  thoughtful,  •  .irtii-si  <-Knay  will  bring  courage  and  help  to  many  a 
tca<-lifr  who  is  struggling  to  do  better  work.  It  includes  a  course  of  study 
(or  Teachers'  Training  Classes. 


J.  Q.  FITCH,  Inspector  of  the 
Training  Colleges  of  England. 


SEND  ALL  ORDERS  TO 

46   E.  L.  KELLOGG  &  GO.,  NEW  YORK  &  CHICAGO. 
No.  6.    Gladstone's  Object  Teaching. 

By  J.  H.  GLADSTONE,  of  the  London  (Eng.)  School  Board.    25  pp. 
A  short  manual  full  of  practical  suggestions  on  Object  Teaching. 

No.  7.     Huntington's  Unconscious  Tuition. 

Bishop  Huntingtou'has  placed  all  teachers  under  profound  obligations  to 
him  by  writing  this  work.  The  earnest  teacher  has  felt  its  earnest  spirit, 
due  to  its  interesting  discussion  of  the  foundation  principles  of  education. 
It  is  wonderfully  suggestive. 

No.  8.    Hughes'  How  to  Keep  Order. 

By  JAMES  L.  HUGHES,  author  of  "  Mistakes  in  Teaching." 
Mr.  Hughes  is  one  of  the  few  men  who  know  what  to  say  to  help  a  young 
teacher.     Thousands   are  to-day  asking,   "How  shall  we   keep   order?" 
Thousands  are  saying,  "  I  can  teach  well  enough,  but  I  cannot  keep  order." 
To  such  we  recommend  this  little  book. 

No.  9.    Quick's  How  to  Train  the  Memory. 

By  Rev.  R.  H.  QUICK,  author  of  "  Educational  Reformers." 
This  book  comes  from  school-room  experience,  and  is  not  a  matter  of 
theory.  Much  attention  has  been  lately  paid  to  increasing  the  power  of 
memory.  The  teacher  must  make  it  part  of  his  business  to  store  the 
memory,  hence  he  must  know  how  to  do  it  properly  and  according  to  the 
laws  of  the  mind. 

No.  10.    Hoffman's  Kindergarten  Gifts. 

By  HEINRICH  HOFFMAN,  a  pupil  of  Kroebel. 

The  author  sets  forth  very  clearly  the  best  methods  of  using  them  for 
training  the  child's  senses  and  power  of  observation. 

No.  ii.    Sutler's  Argument  for  Manual  Training. 

By  NICHOLAS  MURRAY  BUTLER,  Pres.  of  N.  Y.  College  for  Training  of 
Teachers. 
A  clear  statement  of  the  foundation  principles  of  Industrial  Education. 

No.  12.    Groff's  School  Hygiene. 

By  Pres.  G.  G.  GROFF,  of  Bucknell  University,  Pa. 

We  wish  that  every  teacher  could  read  carefully  and  put  in  practice  the 
clearly-stated  principles  of  School  Hjrgiene  given  in  this  little  book.  Care 
of  the  eyes,  light,  ventilation,  wells,  water-closets,  etc.,  are  fully  treated, 
with  several  illustrations. 

THIS  LIST  IS  CONSTANTLY  BEING  ADDED  TO. 
NOTICES. 

Central  School  Journal  (Iowa.—"  The  demand  is  for  small  books  on  great 
subjects." 

S.  W.  Journal  of  Education.—"  Glad  to  see  such  valuable  papers  in  such 
a  cheap  form." 

Va.  School  Journal. — "Teacherr.'  manuals  in  the  broad  sense." 

Wisconsin  School  Journal  .-"  The  series  are  deserving  the  highest  com 
mendation." 

Education  (Boston).—"  Capital  little  books." 

Science  (N.  Y.  City). — "Contain  materials  that  will  prove  suggestive  t« 
teachers." 

Progressive  Teacher.— "Valuable  additions  to  a  series  already  famous." 

School  Herald  < Chicago).— "  We  must  commend  the  good  judgment  in 
selecting  these  books." 

Educational  Record  (Canada).— "  Every  progressive  teacher  ought  to 
have  them," 


SEND  AM*  ORDERS  TO 

E.  L.  KELLOGG  &  CO.,  NEW  YORK  AND  CHICAGO.  37 

Shaw's  ^Cational  Question  "Book. 

"  THE  NATIONAL  QUESTION  BOOK."    A  graded  course  of 
study  for  those  preparing  to  teach.   By  EDWARD  R.  SHAW, 
Principal  of  the  High  School,  Yonkers,  N.  Y.,  author  of 
"School  Devices,'    etc      Bound  in  durable  English  buck- 
ram   cloth,  with  beautiful  side-stamp.      12mo,  400  pp. 
Price,  $1.35;  net  to  teachers,  postpaid. 
A  new  edition  of  this  popular  book  is  now  ready,  containing 
the  following 

NEW    FEATURES: 

READING.    An  entirely  new  chapter  with  answers. 
ALCOHOL  and  its  effects  on  the  body.    An  entirely  new 
chapter  with  answers. 

THE  PROFESSIONAL  GRADE  has  been  entirely  re- 
written and  now  contains  answers  to  every  question. 

This  work  contains  6,500  Questions  and  Answers  on  24 
Different  Branches  of  Study. 

ITS  DISTINGUISHING  FEATURES. 

1.  It  aims  to  make  the  teacher  a  BETTER  TEACHER. 

• '  How  to  Make  Teaching  a  Profession  "  has  challenged  tl  e 
attention  of  the  wisest  teacher.  It  is  plain  that  to  accomplish 
this  the  teacher  must  pass  from  the  stage  of  a  knowledge  of 
the  rudiments,  to  the  stage  of  somewhat  extensive  acquire- 
ment. There  are  steps  in  this  movement;  if  a  teacher  will 
take  the  first  and  see  what  the  next  is,  he  will  probably  go  on 
to  the  next,  and  so  on.  One  of  the  reasons  why  there  has 
been  no  movement  forward  by  those  who  have  made  this  first 
step,  is  that  there  was  nothing  marked  out  as  a  second  step. 

2.  This  book  will  show  the  teacher  how  to  go  forward. 

In  the  preface  the  course  of  study  usually  pursued  in  our 
best  normal  schools  is  given.  This  proposes  four  grades ; 
third,  second,  first,  and  professional.  Then,  questions  are 
given  appropriate  for  each  of  these  grades.  Answers  follow 
each  section.  A  teacher  will  use  the  book  somewhat  as 
follows  : — If  he  is  in  the  third  grade  he  will  put  the  questions 
found  in  this  book  concerning  numbers,  geography,  history, 
gnunmar,  orthography,  and  theory  and  practice  of  teaching 
to  himself  and  get  out  the  answer.  Having  done  this  he  will 
go  on  to  the  other  grades  in  a  similar  manner.  In  this  way 
In-  will  know  as  to  his  fitnew  to  pass  an  examination  for 


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E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.    39 

Shaw  and  'DonneWs  School  Devices. 

"  SCHOOL  DEVICES."  A  book  of  ways  and  suggestions  for  teachers. 
By  EDWARD  R.  SHAW  and  WKBB  DONNELL,  of  the  High  School  at 
Yonkers,  N.  Y.  Illustrated.  Dark-blue  cloth  binding,  gold, 
16mo,  289  pp.  Price,  $1.25 ;  to  teachers,  $1.00 ;  by  mail,  9  cents 
extra. 

This  valuable  book  has  just  been  greatly  im- 
proved by  the  addition  of  nearly  75  pages  of 
entirely  new  material. 

J^-A  BOOK  OF  "WAYS"  FOR  TEACHERS.^ 

Teaching  is  an  art ;  there  are  "ways  to  do  it."  This  book  is  made 
to  point  out  "  ways,"  and  to  help  by  suggestions. 

1.  It  gives   "ways"  for  teaching  Language,   Grammar,   Reading, 
Spelling,  Geography,  etc.     These  are  in  many  cases  novel ;  they  are 
designed  to  help  attract  the  attention  of  the  pupil. 

2.  The  "  ways"  given  are  not  the  questionable  "  ways"  so  often  seen 
practised  in  school-rooms,  but  are  in  accord  with  the  spirit  of  modern 
educational  ideas. 

3.  This  book  will  afford  practical  assistance  to  teachers  who  wish  to 
keep  their  work  from  degenerating  into  mere  routine.     It  gives  them, 
in  convenient  form  for  constant  use  at  the  desk,  a  multitude  of  new 
ways  in  which  to  present  old  truths.     The  great  enemy  of  the  teacher 
is  want  of  interest.     Their  methods  do  not  attract  attention.     There  is 
no  teaching  unless  there  is  attention.    The  teacher  is  too  apt  to  think 
there  is  but  one  "way"  of  teaching  spelling  ;  he  thus  falls  into  a  rut. 
Now  there  are  many  "ways"  of  teaching  spelling,  and  some  "ways" 
are  better  than  others.     Variety  must  exist  in  the  school-room ;  'the 
authors  of  this  volume  deserve  the  thanks  of  the  teachers  for  pointing 
out  methods  of  obtaining  variety  without  sacrificing  the  great  end 
sought — scholarship.    New  "ways"  induce  greater  effort,  and  renewal 
of  activity. 

4.  The  book  gives  the  result  of  large  actual  experience  in  the  school- 
room, and  will  meet  the  needs  of  thousands  of  teachers,  by  placing  at 
their  command  that  for  which  visits  to  other  schools  are  made,  insti- 
tutes and  associations  attended,  viz.,  new  ideas  and  fresh  and  forceful 
ways  of  teaching.     The  devices  given  under  Drawing  and  Physiology 
are  of  an  eminently  practical  nature,  and  cannot  fail  to  invest  these 
subjects  with  new  interest.     The  attempt  has  been  made  to  present 
only  devices  of  a  practical  character. 

5.  The  book  suggests  "ways"  to  make  teaching  effective;  it  is  not 
simply  a  book  of  new  "ways,"  but  of  "  ways"  that  will  produce  good 
results. 


ftfcND  ALL  ORDER*  TO 

JT.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.  35 


Seeleys    Grube  s   Method  of   Teaching 

ARITHMETIC.  Explained  and  illustrated.  Also  the  im- 
provements on  the  method  made  by  the  followers  of 
Grube  in  Germany.  By  LEVI  SEELEY,  Ph.D.  Cloth, 
176  pp.  Price,  $1.00;  to  teachers  80  cents;  by  mail, 
7  cents  extra. 

1.  IT  is  A  PHILOSOPHICAL 
WORK.— This  book  has  a  sound 
philosophical  basis.     The  child 
does  not  (as  most  teachers  seem 
to  think)  learn  addition,  then 
subtraction,     then    multiplica- 
tion, then  division;   he  learns 
these  processes  together.    Grube 
saw  this,  and  founded  his  sys- 
tem on  this  fact. 

2.  IT    FOLLOWS    NATURE'S 
PLAN. — Grube  proceeds  to  de- 
velop (so  to  speak)  the  method 
by  which  the  child  actually  be- 
comes  (if   he   ever   does)    ac- 
quainted with  1,  2,  3,  4,  5,  etc. 
This  is  not  done,  as  some  sup- 
pose, by  writing   them   on   a 
slate.    Nature  has  her  method  ; 
she  begins  with  THINGS;  after 

handling  two  things  in  certain  ways,  the  idea  of  two  is  ob- 
tained, and  so  ot  other  numbers.  The  chief  value  of  this 
book  then  consists  in  showing  what  may  be  termed  the  way 
nature  teaches  the  child  number. 

8.  IT  is  VALUABLE  TO  PRIMARY  TEACHERS.— It  begins  and 
shows  how  the  child  can  be  tanght  1,  then  2,  then  3,  &c. 
Hence  it  is  a  work  especially  valuable  for  the  primary  teacher. 
It  gives  much  space  to  showing  how  the  numbers  up  to  10  are 
taught;  for  if  this  be  correctly  done,  the  pupil  will  almost 
teach  himself  the  rest. 

4.  IT  CAN  BE  USED  IN  ADVANCED  GRADES.— It  discusses 
methods  of  teaching  fractions,  percentage,  etc.,  so  that  it  is  a 
work  valuable  for  all  classes  of  teachers. 

6  IT  GUIDES  THE  TEACHER'S  WORK. — It  shows,  for  exam- 
ple, what  the  teacher  can  appropriately  do  the  first  year,  what 
the  second,  the  third,  and  the  fourth.  More  than  this,  it  sug- 
gests work  for  the  teacher  she  would  otherwise  omit. 

Taking  it  altogether,  it  is  the  best  work  on  teaching  num* 
\er  ever  published.  _  It  ift _yer v  handsomely  printed  and  bound. 


DR.  LEVI  BBELBT. 


ALL  OftDERS  -TO 

52   B.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 


Woodbull's  Simple  Experiments  for  the 

SCHOOL-ROOM.  By  Prof.  JOHN  F.  WOODHULL,  Prof,  of 
Natural  Science  in  the  College  for  the  Training  of  Teachers, 
New  York  City,  author  of  "Manual  of  Home-Made  Appa- 
ratus." Cloth,  16mo.  Price,  50  cents;  to  teachers,  40  cents; 
by  mail,  5  cents  extra. 

This  book  contains  a  series  of  simple,  easily-made  experiments, 
to  perform  which  will  aid  the  comprehension  of  every-day  phe- 
nomena. They  are  really  the  very  lessons  given  by  the  author  in 
the  Primary  and  Grammar  Departments  of  the  Model  School  in 
the  College  for  the  Training  of  Teachers,  New  York  City. 

The  apparatus  needed  for  the  experiments  consists,  for  the  most 
part,  of  such  things  as  every  teacher  will  find  at  hand  in  a  school- 
room or  kitchen.  The  experiments  are  so  connected  in  logical 
order  as  to  form  a  continuous  exhibition  of  the  phenomena  of 
combustion.  This  book  is  not  a  science  catechism.  Its  aim  is  to 
train  the  child's  mind  in  habits  of  reasoning  by  experimental 
methods. 

These  experiments  should  be  made  in  every  school  of  our 
country,  and  thus  bring  in  a  scientific  method  of  dealing  with 
nature.  The  present  method  of  cramming  children's  minds  with 
isolated  facts  of  which  they  can  have  no  adequate  comprehension 
is  a  ruinous  and  unprofitable  one.  This  book  points  out  the 
method  employed  by  the  best  teachers  in  the  best  schools. 

WHAT    IT    CONTAINS. 


I.  Experiments  with  Paper. 
H.  Wood. 

III.  "          a  Candle. 

IV.  "          Kerosene. 
V.  Kindling  Temperature. 


VI.  Air  as  an  Agent  in  Combustion. 
VII.  Products  of  Complete     " 
VIII.  Currents  of  Air,  etc.— Ventila- 
IX.  Oxygen  of  the  Air.  [tion. 

X.  Chemical  Changes. 


In  all  there  are  91  experiments  described,  illustrated  by  35 
engravings. 

Jas.  H.  Canfield,  Univ.  of  Kans.,  Lawrence,  says:—"  I  desire  to  say  most 
emphatically  that  the  method  pursued  is  the  only  true  one  in  all  school 
work.  Its  spirit  is  admirable.  We  need  and  must  have  far  more  of  this 
instruction  " 

J.  C.  Packard,  Univ.  of  Iowa,  Iowa  City,  says: — "  For  many  years  shut  up 
to  the  simplest  forms  of  illustrative  apparatus,  I  learned  that  the  necessity 
was  a  blessing,  since  so  much  could  be  accomplished  by  home-made  ap- 
paratus— inexpensive  and  effective." 

Henry  E.  Eussell,  Woodbury,  N.  J.,  Supt.  of  the  Friends  School:— "Ad- 
mirable little  book.  It  is  just  the  kind  of  book  we  need." 

S.  T.  Button,  Supt.  Schools,  New  Haven,  Ct.— "  Contains  just  the  kind  of 
help  teachers  need  in  adapting  natural  science  to  common  schools." 


SEND  ALL  ORDERS  TO 

B.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.   33 


Reception  Day.     6 

A  collection  of  fresh  and  original  dialogues,  recitations,  decla- 
mations, and  short  pieces  for  practical  use  in  Public  and 
Private  Schools.  Bound  in  handsome  new  paper  cover,  160 
pages  each,  printed  on  laid  paper.  Price,  80  cents  each;  to 
teachers,  24  cents;  by  mail,  3  cents  extra. 

The  exercises  in  these  books  bear  upon  education;  have  a  rela- 
tion to  the  school-room. 

1.  The  dialogues,  recitations,  and  declamations  gathered  in 

this  volume  being  fresh,  short, 
and  easy  to  be  comprehended,  are 
well  fitted  for  the  average  scholars 
••  of  our  schools. 

2.  They  have  mainly  been  used 
by  teachers  for  actual  school 
exercises. 

3  They  cover  a  different  ground 
from  the  speeches  of  Demosthenes 
and  Cicero — which  are  unfitted 
for  boys  of  twelve  to  sixteen 
years  of  age. 

4.  They  have  some  practical  in- 
terest for  those  who  use  them. 

5.  There  is  not  a  vicious  sen- 
tence uttered.     In  some  dialogue 
books  profanity  is  found,  or  dis- 
obedience to  parents  encouraged, 
or  lying  laughed  at.     Let  teacbers 
look  out  for  this. 

6.  There  is  something  for  the 
youngest  pupils. 

7.  "Memorial  Day  Exercises"  for  Bryant,  Garfield,  Lincoln, 
etc.,  will  be  found. 

8.  Several  Tree  Planting  exercises  are  included. 

9.  The  <  \cn  isos   have  relation  to  the  school-room,  and  bear 
upon  education. 

10.  An  important  point  is  the  freshness  of  these  pieces.     Most 
of  them  were  written  expressly  for  this  collection,  and  can  be 
found  nowhere  else. 

Boston  Journal  of  Education.— "  It  is  of  practical  value." 
Detroit  Free  Press.—"  Suitable  for  public  and  private  schools." 
Western  Ed.  Journal.—"  A  series  of  very  good  selections." 


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t  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 
WHAT  EACH   NUMBER   CONTAINS. 


No.  1 

Is  a  specially  fine  number.    One  dia- 
logue in  it,  called  "Work  Conquers," 
for  11  girls  and  6  boys,  has  been  given 
hundreds  of  times,  and  is  alone  worth 
the  price  of  the  bcok.    Then  there 
are  21  other  dialogues. 
29  Recitations. 
14  Declamations. 
17  Pieces  for  the  Primary  Class. 

No.  2.  Contains 

29  Recitations. 
12  Declamations. 

17  Dialogues. 

24  Pieces  for  the  Primary  Class. 

And  for  Class  Exercise  as  follows: 

The  Bird's  Party. 

Indian  Names. 

Valedictory. 

Washington's  Birthday. 

Garfleld  Memorial  Day. 

Grant  "  " 

Whittier 

Sigourney 

No.  3  Contains 

Fewer  of  the  longer  pieces  and  more 
of  the  shorter,  as  follows  : 

18  Declamations. 

21  Recitations. 

22  Dialogues. 

24  Pieces  for  the  Primary  Class. 
A  Christmas  Exercise. 
Opening  Piece,  and 
An  Historical  Celebration. 


No.  4  Contains 

Campbell  Memorial  Day. 
Longfellow         "          " 
Michael  Angelo  " 
Shakespeare      "         " 
Washington        "         " 
Christmas  Exercise. 
Arbor  Day         " 
New  Planting    " 
Thanksgiving    " 
Value  of  Knowledge  Exercise. 
Also  8  other  Dialogues. 
21  Recitations. 

23  Declamations. 

No.  5  Contains 

Browning  Memorial  Day. 
Autumn  Exercise. 
Bryant  Memorial  Day. 
New  Planting  Exercise. 
Christmas  Exercise. 
A  Concert  Exercise. 

24  Other  Dialogues. 
16  Declamations,  and 
36  Recitations. 

No.  6  Contains 
Spring;   a  flower  exercise  for  very 

young  pupils. 
Emerson  Memorial  Day. 
New  Year's  Day  Exercise. 
Holmes'  Memorial  Day. 
Fourth  of  July  Exercise. 
Shakespeare  Memorial  Day. 
Washington's  Birthday  Exercise. 
Also  6  other  Dialogues. 
6  Declamations. 
41  Recitations. 

15  Recitations  for  the  Primary  Class. 
And  4  Songs. 


Our  RECEPTION  DAY  Series  is  not  sold  largely  by  booksellers, 
who,  if  they  do  not  keep  it,  try  to  have  you  buy  something  else 
similar,  but  not  so  good.  Therefore  send  direct  to  the  publishers, 
by  mail,  the  price  as  above,  in  stamps  or  postal  notes,  and  your 
order  will  be  tilled  at  once.  Discount  for  quantities. 


SPECIAL  OFFER. 

If  ordered  at  one  time,  we  will  send  postpaid  the  entire 
6  Nos.  for  $1.40.     Note  the  reduction. 


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18  E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Hughes  ^Mistakes  in  Teaching. 

BY  JAMES  J.  HUGHES,  Inspector  of  Schools,  Toronto,  Canada. 

i       Cloth,  16mo,  115  pp.     Price,  50  cents;  to  teachers,  40  cents; 
by  mail,  5  cents  extra. 

Thousands  of  copies  of  the  old 
edition  have  been  sold.  The  new 
edition  is  worth  double  the  old; 
the  material  has  been  increased, 
restated,  aud  greatly  improved. 
Two  new  and  important  Chapters 
have  been  added  on  "Mistakes  in 
Aims,"  and  "Mistakes  in  Moral 
Training."  Mr.  Hughes  says  in  his 
preface:  "In  issuing  a  revised  edi- 
tion of  this  book,  it  seems  titling  to 
acknowledge  gratefully  the  hearty 
appreciation  that  has  been  accorded 
it  by  American  teachers.  Realiz- 
ing as  I  do  that  its  very  large  sale 
indicates  that  it  has  been  of  service 
to  many  of  my  fellow-teachers,  I 
have  recognized  the  duty  of  enlarg- 
ing and  revising  it  so  as  to  make  it 
still  more  helpful  in  preventing 

JAMES  L.  HUGHES,  Inspector  of  the  common  mistakes  in   teaching 
Schools,  Toronto,  Canada.         ftnd  trajning. » 

This  is  one  of  the  six  books  recommended  by  the  N.  Y.  State 
Department  to  teachers  preparing  for  examination  for  State  cer> 
tiiicates. 

CAUTION. 

Our  new  AUTHORIZED  COPYRIGHT  EDITION,  entirely  rewritten  by 
Hie  autfior,  u  the  only  one  to  buy.  It  is  beautifully  printed  and 
handsomely  bound.  Get  no  other. 

CONTENTS  OF  OUR   NEW   EDITION. 

CHAP.     I.    7  Mistakes  in  Aim. 
CHAP.    II.  21  Mistakes  in  School  Management. 
CHAP.  III.  24  Mistakes  in  Discipline. 
CHAP.  IV.  27  Mistakes  in  Method. 
CHAP.     V.  13  Mistakes  in  Moral  Training. 
Chaps.  I.  and  V.  are  entirely  new. 


BEND  ALL  ORDERS  TO 

44     E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Tate's  ^Philosophy  of  Education. 

The  Philosophy  of  Education.  By  T.  TATE.  Revised  and 
Annotated  by  E.  E.  SHEIB,  Ph.D.,  Principal  of  the  Louis- 
iana  State  Normal  School.  Unique  cloth  binding,  laid 
paper,  831  pp.  Price,  $1.50 ;  to  teachers,  $1.20  ;  by  mail,  7 
cents  extra. 

There  are  few  books  that  deal  with  the  Science  of  Educa- 
tion. This  volume  is  the  work  of  a  man  who  said  there  were 
great  principles  at  the  bottom  of  the  work  of  the  despised 
schoolmaster.  It  has  set  many  a  teacher  to  thinking,  and  in 
its  new  form  will  set  many  more. 

Our  edition  will  be  found  far  superior  to  any  ether  in  every 
respect.  The  annotations  of  Mr.  Sheib  are  invaluable.  The 
more  important  part  of  the  book  are  emphasized  by  leading 
the  type.  The  type  is  clear,  the  size  convenient,  and  print- 
ing, paper,  and  binding  are  most  excellent. 

Mr.  Philbrick  so  long  superintendent  of  the  Boston  schools  hold  this 
work  in  high  esteem. 

Col.  F.  W.  Parker  strongly  recommends  it. 

Jos.  MacAlister,  Supt.  Public  Schools,  Philadelphia,  says :— "It  is  one 
of  the  first  books  which  a  teacher  deserves  of  understanding  the  scien- 
tific principles  on  which  his  work  rests  should  study." 

S.  A.  Ellis,  Supt.  of  Schools,  Rochester  N.  Y.  says :— "  As  a  pointed  and 
judicious  statement  of  principles  it  has  no  superior." 

Thos.  M.  Balliet,  Supt.  of  Schools,.  Reading.  Pa.,  says:—"  The  work 
is  a  classic  on  Education." 

J.  M.  Greenwood,  Supt.  Schools,  Kansas  City,  says :— "  I  wish  every 
teacher  of  our  country  owned  a  copy  and  would  read  it  carefully  and 
thoughtfully." 

Prest.  E.  A.  Sheldon,  Oswego  Normal  Schools,  says :—"  For  more 
chan  20  years  it  has  been  our  text-book  in  this  subject  and  I  know  of  no 
other  book  so  good  for  the  purpose." 

Bridgeport  Standard.— "A  new  generation  of  thinkers  will  welcoire 
it ;  it  has  long  held  the  first  place  in  the  field  of  labor  which  it  illus- 
trates." 

S.  W»  Journal  of  Education.— "It  deals  with  fundamental  principles 
and  shows  how  the  best  educational  practice  comes  from  them." 

The  Interior.—"  The  book  has  long  been  held  in  high  esteem  by 
thoughtful  teachers." 

Popular  Educator.—"  Has  long  held  a  high  place  among  educational 
works." 

Illinois  School  Journal.—"  It  abounds  in  good  things." 

Philadelphia  Record.—"  Has  been  ranked  among  educational  classics 
for  more  than  a  quarter  of  a  century." 

Educational  News.—"  Tate  was  the  first  to  give  us  the  maxima  from 
the  4  known  to  the  unknown  '  «*  " 


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14  E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Fitch's  Lectures  on  Teaching. 

Lectures  on  Teaching.  By  J.  G.  FITCH,  M.A.,  one  of  Her 
Majesty's  Inspectors  of  "Schools.  England.  Cloth,  16mo, 
395  pp.  Price,  $1.25  ;  to  teachers,  $1.00  ;  by  mail,  postpaid. 

Mr.  Fitch  takes  as  his  topic  the  application  of  principles  to 
the  art  of  teaching  in  schools.  Here  are  no«  vague  and  gen- 
eral propositions,  but  on  every  page  we  find  the  problems  of 
the  school-room  discussed  with  definiteness  of  mental  grip. 
No  one  who  has  read  a  single  lecture  by  this  eminent  man 
but  will  desire  to  read  another.  The  book  is  full  of  sugges- 
tions that  lead  to  increased  power. 

1.  These  lectures  are  highly  prized  in  England. 

2.  There  is  a  valuable  preface  by  Thos.  Hunter,  President 
of  N.  Y.  City  Normal  College. 

3.  The  volume  has  been  at  once  adopted  by  several  State 
Reading  Circles. 

EXTRACT   FROM   AMERICAN  PREFACE. 

"  Teachers  everywhere  among  English-speaking  people  have  hailed 
Mr.  Fitch's  work  as  an  invaluable  aid  for  almost  every  kind  of  instruc- 
tion and  school  organization.  It  combines  the  theoretical  and  the  prac- 
tical ;  it  is  based  on  psychology ;  it  gives  admirable  advice  on  every- 
thing connected  with  teaching— from  the  furnishing  of  a  school-room 
to  the  preparation  of  questions  for  examination.  Its  style  is  singularly 
clear,  vigorous  and  harmonious." 

Chicago  Intelligence.— "  All  of  its  discussions  are  based  on  sound 
psychological  principles  and  give  admirable  advice." 

Virginia  Educational  Journal.— "He  tells  what  he  thinks  so  as  to 
be  helpful  to  all  who  are  striving  to  improve." 

Lynn  Evening  Item.—"  He  gives  admirable  advice." 

Philadelphia  Record.— "  It  is  not  easy  to  imagine  a  more  useful  vol- 
ume." 

Wilmington  Every  Evening.—"  The  teacher  will  find  in  it  a  wealth 
of  help  and  suggestion." 

Brooklyn  Journal.—"  His  conception  of  the  teacher  is  a  worthy  idea, 
for  till  to  bear  in  mind." 

New  England  Journal  of  Education :  "  This  is  eminently  the  work  oi 
a  man  of  wisdom  and  experience.  Ho  takes  a  broad  and  comprehensive 
view  of  the  work  of  the  teacher,  and  his  suggestions  on  all  topics  aro 
worthy  of  the  most  careful  consideration."- 

Brooklyn  Eagle •  "An  invaluable  aid  for  almost  every  kind  of  in- 
struction and  school  organization.  It  combines  the  theoretical  and  the 
practical;  it  is  based  on  psychology;  it  gives  admirable  ad  vice  on  ovory- 
thinff  connected  wtthteftounf,from  t.h<  f umishing  of  u  school-room  to 
the  preparation  of  questions  for  examination." 

Toledo  Blade :  "  Tt  is  safe  to  say,  no  teacher  can  lay  claim  to  being 
well  informed  who  has  not  read  this  admirable  work.  Its  appreciation 
IH  shown  by  i's  adoption  by  several  Stutn  Teachers1  llcftdintf  Circles,  ai 
a  work  to  be  thoroughly  read  by  itg  members." 


SEND  ALL  O  UP  CHS  TO 

20    E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  GRIG  AGO. 

Hughes  Securing  and  Retaining  Atten- 

TION.  By  JAMES  L.  HUGHES,  Inspector  Schools,  Toronto, 
Canada,  author  of  "Mistakes  in  Teaching."  Cloth,  116pp. 
Price,  50  cents;  to  teacherx,  40  cents;  by  mail,  5  cents  extra. 

This  valuable  little  book  has  already  become  "widely  known  to 
American  teachers.  Our  new  edition  has  been  almost  entirety 
re-written,  and  several  new  important  chapters  added.  It  is  the 
only  AUTHORIZED  COPYRIGHT  EDITION.  Caution. — Buy  no  other. 

WHAT    IT   CONTAINS. 

I.  General  Principles;  II.  Kind*  of  Attention;  III.  Characteristics  of  Good 
Attention;  IV.  Conditions  of  Attention;  V.  Essential  Characteristics  of  the 
Teacher  in  Securing:  and  Retaining  Attention;  VI.  How  to  Control  a  Class; 
VII.  Methods  of  Stimulating  and  Controlling  a  Desire  for  Knowledge;  VIII. 
How  to  Gratify  and  Develop  the  Desire  for  Mental  Activity;  IX.  Distracting 
Attention;  X.  Training  the  Power  of  Attention;  XI.  General  Suggestions 
Regarding  Attention. 

TESTIMONIALS. 

S.  P.  Bobbins,  Pres.  McGill  Normal  School.  Montreal,  Can.,  writes  to  Mr. 
Hughes: — "It  is  quite  superfluous  for  ine  to  say  that  your  little  books  are 
admirable.  I  was  yesterday  authorized  to  put  the  '  Attention  '  on  the  list 
of  books  to  be  used  in  the  Normal  School  next  year.  Crisp  and  attractive 
in  style,  and  mighty  by  reason  of  its  good,  sound  common-sense,  it  is  a 
book  that  every  teacher  should  know." 

Popular  Educator  (Boston):—"  Mr.  Hughes  has  embodied  the  best  think- 
ing of  Ms  life  in  these  pages." 

Central  School  Journal  (la.").—"  Though  published  four  or  five  years 
since,  this  hook  has  steadily  advanced  in  popularity." 

Educational  Courant  (Ky.).— "It  is  intensely  practical.  There  isn't  a 
mystical,  muddy  expression  in  the  book." 

Educational  Times  (England).—"  On  an  important  subject;,  and  admir- 
ably executed." 

School  Guardian  (England). — "  We  unhesitatingly  recommend  it." 

New  England  Journal  of  Education.—"  The  book  is  a  guide  and  a 
manual  of  special  value." 

New  York  School  Journal.—"  Every  teacher  would  derive  benefit  from 
reading  this  volume." 

Chicago  Educational  Weekly.— "The  teacher  who  aims  at  best  sue-* 
cess  should  study  it." 

Phil.  Teacher.—"  Many  who  have  spent  months  in  the  school-room  would 
be  benefited  by  it." 

rland  School  Journal.—"  Always  clear,  never  tedious." 
,  J3d.  Journal.— "  Excellent  hints  as  to  securing  attention." 
Ohio  Educational  Monthly, — "  We  advise  readers  to  send  for  a  copj7." 
Pacific  Home  and  School  Journal. — "  An  excellent  little  manual." 
Prest.  James  H.  Hoose,  State  Normal  School,  Cortland,  N.  Y.,  says:— 
"The  book  must  prove  of  great  benefit  to  the  profession.'' 

Supt.  A.  W.  Edson,  Jersey  City,  N.  J.,  says:—"  A  good  treatise  has  long 
keen  needed,  and  Mr.  Hughes  has  supplied  the  want." 


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10    E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Calkins'  Ear  and  Voice   Training  by 

MEANS  OF  ELEMENTARY  SOUNDS  OF  LANGUAGE.     By  N.  A. 
CALKINS,    Assistant,    Superintendent    N.   Y.    City   Schools; 
author  of  "Primary  Object  Lessons."  "Manual  of   Object 
Teaching,"  ••  Phonic  Charts,"  etc.     Cloth.     16mo,  about  100 
pp.    Price,  50  cents;  to  teachers,  40  cents;  by  mail,  5  cents  extra. 
An  idea  of  the  character  of  this  work  may~be  had  by  the  fol- 
lowing extracts  from  its  Pi'eface: 

"  The  common  existence  of  abnormal  sense  perception  among  school 
children  is  a  serious  obstacle  in  leaching.  This  condition  is  most 

obvious  in  the  defective  perceptions 
of  sounds  and  forms.  It  may  be 
seen  in  the  faulty  articulations  in 
speaking  and  reading ;  in  the  ina- 
bility to  distinguish  musical  sounds 
readily ;  also  in  the  common  mis- 
takes made  hi  hearing  what  is 
said.  .  .  . 

"Careful  observation  and  long 
experience  lead  to  the  conclusion 
that  the  most  common  defects  in 
sound  perceptions  exist  because  of 
lack  of  proper  training  in  childhood 
to  develop  this  power  of  the  mind 
into  activity  through  the  sense  of 
hearing.  It  becomes,  therefore,  a 
matter  of  great  importance  in  edu- 
eation.  that,  in  the  t mining  of  chil- 
dren  <lur  attention  shall  be  given  to 
the  development  of  ready  and  accu- 
rate  perceptions  of  sounds. 

"  How  to  uive  this  training  so  as 
to  secure  the  desired  results  is  a 
subject  that  deserves  the  careful 
attention  of  parents  and  teachers. 
Much  depends  upon  the  manner  of 

presenting  the  sounds  of  our  language  to  pupils,  whether  or  not  the 
results  shall  he  the  development  in  sound-perceptions  that  will  train 
tfie  ear  and  voice  to  habits  of  distinctness  and  accuracy  in  speaking  and 
reading. 

"  The  methods  of  teaching  given  in  this  book  are  the  results  of  an 
extended  experience  under  such  varied  conditions  as  may  be  found 
with  pupils  repivM-nting  all  nationalities,  both  of  native  and  foreign 
born  children.  The  plans  described  will  enable  teachers  to  lead  their 
1  ii ipils  to  acquire  ready  and  distinct  perceptions  through  sense  train- 
ing, and  eansr  them  to  know  the  sounds  of  our  language  in  a  manner 
that  will  give  practical  aid  in  learning  both  the  spoken  and  the  written 
language.  The  simplicity  and  usefulness  of  the  lessons  need  only  to  bo 
known  to  be  appreciated  and  used*" 


SEND  AM,  ORDERS  TO 

22    E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 


No.  2.  Autobiography  of  Frcebel. 
Materials  to  Aid  a  Comprehension  of  the  Works  of  the 
Founder  of  the  Kindergarten.  I6ino,  large,  clear  type, 
128  pp.  Unique  paper  cover.  Price,  30  cents ;  to 
teachers,  24  cents  ;  by  mail,  3  cents  extra.  Bound  in  limp 
cloth,  50  cents ;  to  teachers,  40  cents ;  by  mail,  5  cents 
extra. 

This  little  volume  will  be  welcomed  by  all  who  want  to  get 
a  good  idea  of  Froebel  and  the  kindergarten. 

1.  The  dates  connected  with 
Froebel  and  the  kindergarten 
are   given,   then  follows  his 
autobiography.      To    this    is 
added   Joseph   Payne's  esti- 
mate and  portrayal  of  Frce- 
bel, as  well  as  a  summary  of 
Frcebel's  own  views. 

2.  In  this  volume  the  stu- 
dent of  education   finds  ma- 
terials for  constructing,  in  an 
intelligent  manner  an  estimate 
and  comprehension  of  the  kin- 
dergarten.   The  life  of  Frcebel, 
mainly  by  his  own  hand,  is 
very  helpful.    In  this  we  see 
the  working  of  his  mind  when 
a  youth  ;    he  lets  us  see  how 
he    felt   at    being    misunder- 
stood, at  being  called  a  bad  boy,  and  his  pleasure  when  face 
to  face  with  nature.   Gradually  we  see  there  was  crystallizing 
in  him  a  comprehension  of  'the  means  that  would  bring  har- 
mony and  peace  to  the  minds  of  young  people. 

3.  The  analysis  of  the  powers  of  Frcebel  will  be  of  great 
aid.  We  see  that  there  was  a  deep  philosophy  in  this  plain 
German  man  ;  he  was  studying  out  a  plan  by  which  the 
usually  wasted  years  of  young  children  could  be  made  pro- 
ductive. The  volume  will  be  of  great  value  not  only  to  every 
kindergartner,  but  to  all  who  wish  to  understand  the  philoso- 
phy of  mental  development. 

La.  Journal  of  Education.— "An  excellent  little  work.' 

W.  Va.  School  Journal.— "Will  be  of  great  value." 

Educational  Courant,  Ky.— "  Ought  to  have  a  very  extensive  circn« 
iation  among  the  teachers  of  the  country." 

Educational  Record,  Can,— "Ought  to  be  in  the  hands  of  every  pro* 
fessjonal  teacher." 


FRIEDRICH  FRCEBEL. 


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E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 


Aliens  Mind  Studies  for  Young  Teach- 

ERS.  By  JEROME  ALLEN,  Ph.D.,  Associate  Editor  of  the 
SCHOOL  JOURNAL,  Prof,  of  Pedagogy,  Univ.  of  City  of 
N.  Y.  16mo,  large,  clear  type,  128  pp.  Cloth,  50  cents  ;  to 
teacJiers,  40  cents  ;  by  mail,  5  cents  extra. 

There  are  many  teachers  who 
know  little  about  psychology, 
and  who  desire  to  be  better  in- 
formed concerning  its  princi- 
ples. especially  its  relation  to  the 
work  of  teaching.  For  the  aid 
of  such,  this  book  has  been  pre- 
pared. But  it  is  not  a  psychol- 
ogy—only an  introduction  to  it, 
aiming  to  give  some  funda- 
mental principles,  together  with 
something  concerning  the  phi- 
losophy of  education.  Its  meth- 
od is  subjective  rather  than  ob- 
jective, leading  the  student  to 
watch  mental  processes,  and 
draw  his  own  conclusions.  It 
is  written  in  language  easy  to 
be  comprehended,  and  has  many 
JEROME  ALLEN,  Ph.D.,  Associate  Editor  Poetical  illustrations.  It  will 
of  the  Journal  and  institute.  aid  the  teacher  in  his  daily  work 
in  dealing  with  mental  facts  and  states. 

To  most  teachers  psychology  seems  to  be  dry.  This  book  shows 
how  it  may  become  the  most  interesting  of  all  studies.  It  also 
shows  how  to  begin  the  knowledge  of  self.  "  We  cannot  know 
in  others  what  we  do  not  first  know  in  ourselves."  This  is  the 
key-note  of  this  book.  Students  of  elementary  psychology  will 
appreciate  this  feature  of  "  Mind  Studies." 
ITS  CONTENTS. 


CHAP. 

I.  How  to  Studv  Mind. 
II.  Some  Facts  in  Mind  Growth. 

III.  Development. 

IV.  Mind  Incentives. 

V.  A  few  Fundamental  Principles 

Settlc.l 

VI.  Temperaments. 
V||.  Training  of  the  Senses. 
VIH.   Att.-nti.m. 
IX.  IVrct'ption. 
X.  Abstraction. 

XI.  Faculties     used     In    Abstract 
Thinking. 


CHAP. 

III.  From  the  Subjectire  to  the 
Conceptive. 

XIII.  The  Wilf 

XIV.  Diseases  of  the  Will. 
XV.  Kinds  of  Memory. 

XVI.  TIM-  Sensibilities. 
XVII.  Relation   of  the  Sensibilities 

tO  till'  Will 

xvin   TnUnlng  of  the  Senribttftie*. 
XIX.  Relation   of  the  Sensibilities 

to  Morality. 
XX.  The  Imagination. 
XXI.  Imagination  in  its  Mattirtty. 
1X11.  Education  of  the  Moral  Sense. 


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E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.   53 

Standard  "Black  TSoard  Stencils. 

AIDS  TO  ILLUSTRATION. 

The  need  of  illustration  in  the  work  of  the  school-room  is  felt  by  every 
teacher;  but  lack  of  skill  in  drawing  is  a  great  obstacle.  To  overcome  this 
we  are  manufacturing  an  entirely  new  line  of 
blackboard  stencils,  by  which  hundreds  of  ob- 
jects may  be  put  on  the  blackboard  quickly 
and  handsomely  by  any  teacher  however  inex- 
perienced in  drawing.  Indeed  it  can  be  done 
by  almost  any  pupil.  Our  blackboard  stencils 
beautify  the  school-room  and  make  it  attrac- 
tive. They  give  good  models  for  drawing  and 
writing  lessons.  They  assist  the  teacher  in 
illustrating  Geography,  Language,  Botany, 
and  History-  No  class-room  is  complete  with- 
out these  available  aids. 

Our  standard  blackboard  stencils  are  made 
of  tough  manilla  paper  of  great  strength,  made 
specially  for  us,  on  which  the  design  is  traced. 
These  stencils  will  enable  the  teacher  to  put 
a  handsome  illustration  on  the  blackboard  in 
Language  Lessons,  Geography,  Physiology, 
History,  Botany,  etc.,  etc.,  and  thus  attract 
and  hold  the  attention  of  the  class.  These 
stencils  can  be  used  any  number  of  times. 
Five  to  ten  minutes  will  give  a  perfect  map,  or 
a  drawing  of  an  elephant,  children  playing,  etc.  A  large  and  perfect  map  of 
Europe,  24x30  inches,  showing  all  the  prominent  rivers,  lakes,  mountains 
and  large  cities  can  be  made  in  eight  minutes.  Each  stencil  can  be  used  an 
indefinite  number  of  times,  and  only  requires  a  little  pulverized  chalk  for  im- 
mediate use. 

WHY  THE  BEST. 

1.  All  our  designs  are  new  and  of  a  high  grade  of  artistic  merit. 

2.  The  nnimals.  plants,  children,  birds,  portraits, 
etc.,  etc.,  are  put  on  paper  17x22  inches  in  size.    The 
maps  are  usually  24x36  inches  in  size.     No  other 
stencils  on  the  market  compete  with  them  in  size. 

3.  The  maps  are  from  the  recent  surveys  and 
are  absolutely  correct  in  outline. 

4.  Each  figure  and  map  is  plainly  numbered  and 
named  to  correspond  with  the  catalogue. 

5.  Many  of  these  stencils  are  arranged  in  groups. 
Each  group  contains  five  (5)  Stencils,  packed  in  a 
strong  envelope.     This  envelope  gives  us  a  secure 
way  of  sending  the  stencils  by  mail,  and  the  buyer 
a  neat  receptacle  to  pack  each  away  when  through 
using.     SOLD  IN    SINGLE  NUMBERS   as  well  as  in 
groups. 

TWO  SAMPLES  FOR  TRIAL. 

A  simple  map  of  South  America  and  a  design 
suitable  for  a  language  or  drawing  lesson  will  be 
mailed  post  paid  for  10  cents.  We  will  also  send  a 
complete  catalogue. 


SEND  ALL  ORDERS  TO 

E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Quick's  Educational  Reformers. 

By  Rev.  ROBERT  HERBERT  QUICK,  M.A.,  of  Trinity  College,  Cambridge, 
England.  Hound  in  plain,  but  elegant  cloth  binding.  ICmo,  about  350pp. 
$1.00;  to  teachers,  80  cts. ;  by  mail,  10  cts.  extra. 

This  book  supplies  information  that  is  contained  in  no  other  single 
volume,  touching  the  progress  of  education  in  its  earliest  stages  after 
the  revival  of  learning.  It  is  the  work  of  a  practical  teacher,  who 
supplements  his  sketches  of  famous  educationists  with  some  well- 
considered  observations,  that  deserve  the  attention  of  all  who  are  in- 
terested in  that  subject.  Beginning  with  Roger  Ascham,  it  gives  an 
account  of  the  lives  and  schemes  of  most  of  the  great  thinkers  and 
workers  in  the  educational  field,  down  to  Herbert  Spencer,  with  the 
addition  of  a  valuable  appendix  of  thoughts  and  suggestions  on  teach- 
ing. The  list  includes  the  names  of  Montaigne,  Ratieh,  Milton,  Come- 
nius,  Locke,  Rousseau,  Basedow,  Pestalozzi,  and  Jacotot.  in  the 
lives  and  thoughts  of  these  eminent  men  is  presented  the  whole  phi- 
losophy of  education,  as  developed  in  the  progress  of  modern  times. 

Contents  :  1.  Schools  of  the  Jesuits;  2.  Ascham,  Montaigne,  Ratich, 
Milton;  3.  Comenius;  4.  Locke;  5.  Rousseau's  Emile;  6.  Basedow  and 
the  Philanthropin ;  7.  Pestalozzi ;  8.  Jacotot ;  9.  Herbert  Spencer ; 
10.  Thoughts  and  Suggestions  about  Teaching  Children  ;  11.  Some  Re- 
marks about  Moral  and  Religious  Education  ;  12.  Appendix. 

Augsburg  s  Easy  Things  to  Draw. 

By  D.  R.  AUGSBURG,  Director  of  Drawing  in  the  Keystone  Normal  School, 
Kilt/town,  Pa.    Quarto,  durable  and  elegant  cardboard  cover,  80  pp., 
with  31  pages  of  plates,  containing  over  200  different  figures.    Price,  30 
cents;  to  teachers,  34  cents;  by  mail,  4  cents  extra. 
This  book  is  not  designed  to  present  a  system  of  drawing.    It  is  a 
collection  of  drawings  made  in  the  simplest  possible  way,  and  so  con- 
structed that  any  one  may  reproduce  them.    Its  design  is  to  furnish  a 
hand-book  containing  drawings,  as  would  be  needed  for  the  school- 
room for  object  lessons,  drawing  lessons,  busy  work.    This  collection 
may  be  used  in  connection  with  any  system  of  drawing,  as  it  contains 
examples  suitable  for  practice.    It  may  also  be  used  alone,  as  a  means 
of  learning  the  art  of  drawing.    As  will  be  .seen    from   the  above  the 
idea  oi  this  book  is  new  and  novel.     Those  who  have  seen  it  are  de- 
lighted with  it  as  it  so  exactly  fills  a  want.    Our  list  of  Black-board 
Stencils  is  in  the  same  line. 

Graded  Examination  Questions. 

For  N.  Y.  State,  from  Sept.  '87  to  Sept.  '89,  with  answers  complete.  First, 
Second,  and  Third  Grades,  rioih.  r.'mo.  219pp.  Price,  $1.00;  to 
teachers,  80  cents;  by  mail,  8  cents  extra. 

This  volume  contains  the  Uniform  Graded  Examination  Questions, 
issued  to  the  School  Commissioners  of  the  State  by  the  Dept.  of  I'uhlie 
Instruction,  commencing  Sept.  '87,  and  ending  Aug.  13  and  14, 1889. 
The  answers  are  also  given.  These  questions  have  been  adopted  by 
all  the  school  commissioners  of  the  State;  the  test  in  eaeh  eounty  thus 
becomes  uniform.  These  questions  are  being  used  very  largely  in 
many  other  States,  that  pattern  after  New  York,  and  will  therefore  be 
of  far  more  than  local  interest.  Our  edition  is  the  best  in  arrange' 
ment,  print,  binding,  and  has  an  excellent  contents  and  index. 


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JP.  L.  KELLOGG  &  CO..  NEW  YORK  &  CHICAGO.     21 

Johnsons  Education  by  "Doing. 

Education  by  Doing:  A  Book  of  Educative  Occupations  for 
Children  in  School.  By  ANNA  JOHNSON,  teacher  to  the 
Children's  Aid  Schools  of  New  York  City.  With  a  prefatory 
note  by  Edward  B.  Shaw,  of  the  High  School  of  Yonkers, 
N.  Y.  Handsome  red  cloth,  gilt  stamp.  Price,  75  cents  ; 
to  teachers,  60  cents  ;  by  mail,  5  cents  extra. 

Thousands  of  teachers  are  asking  the  question:  "How  can  1 
keep  my  pupils  profitably  occupied  ? "  This  book  answers 
the  question.  Theories  are  omitted.  Every  line  is  full  of  in- 
struction. 

1.  Arithmetic  is  taught  with  blocks,  beads,  toy-money,  etp. 

2.  The  tables  are  taught  by  clock  dials,  weights,  etc. 

3.  Form  is  taught  by  blocks. 

4.  Lines  with  sticks. 

5.  Language  with  pictures. 

6.  Occupations  are  given. 

7.  Everything  is  plain  and  practical. 

EXTRACT  FROM  PREFATORY  NOTE. 

"In  observing  the  results  achieved  by  the  Kindergarten,  educators  hav* 
felt  that  Frcebel's  great  discovery  of  education  by  occupations  must  have 
something  for  the  public  schools — that  a  further  application  of  the  'puv 
tinpr  of  experience  and  action  in  the  place  of  books  and  abstract  thinking, 
could  be  made  beyond  the  fifth  or  sixth  year  of  the  child's  life.  ThJA 
book  is  an  outgrowth  of  this  idea,  conceived  in  the  spirit  of  tLe  'New 
Education.1 

'•It  will  bo  widely  welcomed,  wo  believe,  as  it  pives  concrete  methods 
of  work — the  very  aids  primary  teachers  are  in  search  of.  There  has  been 
a  wide  discussion  of  the  subject  of  education,  and  there  exists  no  liitlu 
confusion  in  the  mind  of  many  a  teacher  as  to  how  he  should  improf* 
npon  methods  that  have  been  condemned." 

Supt.  J.  W.  Skinner,  Children's  Aid  Schools,  says  : — "  It  is  highly  appi« 

eiatod  by  our  teachers.    It  supplies  a  want  felt  by  all." 
Toledo  Blade- — "  The  need  of  this  book  has  been  felt  by  teachers." 
School  Education- — "Contains  a  great  many  fruitful  suggestions." 
Christian  Advance- — "  The  method  is  certainly  philosophical." 
Va.  Ed.  Journal.—"  The  book  is  an  outgrowth  of  Froebel's  idea." 
Philadelphia  Teacher.—"  The  book  is  full  of  practical  information." 
Iowa  Teacher.— "  Kellogg's  books  are  all  good,  but  this  is  the  best  foi 

teachers." 

The  Educationist- — "  We  regard  it  as  very  valuable." 
School  Bulletin.—"  We  think  well  of  this  book." 
Chicago  Intelligence.—"  Will  be  found  a  very  serviceable  book." 


»  BEND  ALL  ORDERS  TO 

22     E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Kellogg s  School  [Management: 

"  A  Practical  Guide  for  the  Teacher  in  the  School-Room.*1 
By  AMOS  M.  KELLOGG,  A.M.  Sixth  edition.  Revised  and 
enlarged.  Cloth,  128  pp.  Price,  75  cents  ;  to  teachers,  60 
cents  ;  by  mail,  5  cents  extra. 

This  book  takes  up  the  most  difficult  of  all  school  work, 
viz. :  the  Government  of  a  school,  and  is  filled  with  original 
and  practical  ideas  on  the  subject.  It  is  invaluable  to  the 
teacher  who  desires  to  make  his  school  a  "  well-governed " 
school. 

1.  It  suggests  methods  of  awakening  an  interest  in  the 
studies,  and  in  school  work.     "The  problem  for  the  teacher," 
says  Joseph  Payne,  "  is  to  get  the  pupil  to  study."  If  he  can  do 
this  he  will  be  educated. 

2.  It  suggests  methods  of  making  the  school  attractive. 
Ninety-nine  hundredths  of  the  teachers  think  young  people 
should  come  to  school  anyhow  ;  the  wise  ones  know  that  a 
pupil  who  wants  to  come  to  school  will  do  something  when 
he  gets  there,  and  so  make  the  school  attractive. 

3.  Above  all  it  shows  that  the  pupils  will  be  self -governed 
when  well  governed.    It  shows  how  to  develop  the  process  of 
self-government. 

4.  It  shows  how  regular  attention  and  courteous  behaviour 
may  be  secured. 

5.  It  has  an  admirable  preface  by  that  remarkable  man  and 
teacher,  Dr.  Thomas  Hunter,  Pres.  N.  Y.  City  Normal  College. 

Home  and  School.—"  la  just  the  book  for  every  teacher  who  wishes 
to  be  a  better  teacher." 

Educational  Journal.—"  It  contains  many  valuable  hints." 

Boston  Journal  of  Education.— "It  is  the  most  hximane,  instructive, 
original  educational  work  we  have  read  in  many  a  day." 

Wis.  Journal  of  Education.— "  Commends  itself  at  once  by  the  num- 
ber of  ingenious  devices  for  securing  order,  industry,  and  interest. 

Iowa  Central  School  Journal.—"  Teachers  will  find  it  a  helpful  and 
suggestive  book." 

Canada  Educational  Monthly.—"  Valuable  advice  and  useful  sugges- 
tions." 

Normal  Teacher.—"  The  author  believes  the  way  to  manage  is  to  cir- 
flize,  cultivate,  and  refine.** 

School  Moderator.— "  Contains  a  lar^o  amount  of  valuable  reading ; 
school  government  is  admirably  presented." 

Progressive  Teacher.— "Should  occupy  an  honored  place  in  every 
teacher's  library." 

Bd.  Courant.— "It  will  help  the  teacher  greatly.' 

Va.  Ed.  Journal.—"  The  uuthor  cU»w»  from  a  large  experience.'* 


*ENl>  ALL  ORDERS  fO 

16   E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 

Gardner  s   Town  and  Country  School 

BUILDINGS.  A  collection  of  plans  and  designs  for  schools  of 
various  sizes,  graded  and  ungraded,  with  descriptions  of  con- 
struction, of  sanitary  arrangements,  light,  heat,  and  ventila- 
tion. By  E.  C.  GARDNER,  architect,  author  of  ' '  The  House 
that  Jill  Built,"  etc.  Cloth,  small  quarto,  150  pp.  Price, 
$2.50;  to  teachers,  $2.00;  by  mail,  12  cents  extra.  Illustrated 
with  nearly  150  engravings. 


TWO-ROOM  COUNTRY  SCHOOL-HOUSE. 

This  is  undoubtedly  the  most  important  work  ever 
issued  on  this  subject. 

It  is  plain  that  in  the  revival  of  education  that  is  apparently 
begun  thore  are  to  be  better  buildings  erected  for  educational 
purposes.  The  unsightly,  inconvenient,  badly -lighted,  unventi- 
lated  and  ugly  structures  are  to  give  way  to  those  that  are  con- 
venient and  elegant.  The  author  is  an  earnest  advocate  of  im- 
proved methods  of  education,  and  feels  that  suitable  buildings 
will  bear  an  important  part  in  the  movement. 

POINTS  OF  THE  WORK. 

1.  It  is  not  a  book  that  presents  places  for  houses  that  will 
simply  cost  more  money — let  that  be  borne  in  mind.  It  is  a  book 
that  shows  how  to  spend  money  so  as  to  get  the  value  of  the 
money. 

2  Better  buildings  are  sure  to  be  erected— this  cannot  be 
stopped;  the  people  are  feeling  the  importance  of  education  as 
they  never  did  before.  They  will  express  their  feeling  by  erect- 
ing better  buildings.  How  shall  they  be  guided  in  this  good 
effort?  This  book  is  the  answer 


SEND  ALL  OEDEES  TO 

E.  L.  KELLOGG  &  C0.3  25  CLINTON  PLACE,  N.  Y.   23 


=INDU5TRIAL- 
/EDUCATION' 


Lowes  Industrial  Education. 

Industrial  Education ;  a  guide  to  Manual  Training.    By 
SAMUEL  G.  LOVE,  principal  of  the  Jamestown,  (N.  Y.*) 
public  schools.    Cloth,  12mo,  330  pp.  with  40  full-page 
plates  containing  nearly  400  figures.     Price,   $1.50;  to 
teachers,  $1.20  ;  ty  mail,  12  cents  extra. 
1.  Industrial  Education  not  understood.  Probably  the  only 
man  who  has  wrought  out  the  problem  in  a  practical  way  is 
Samuel  G.  Love,  the  superin- 
tendent of  the  Jamestown  (N. 
Y.)  schools.  Mr.  Love  has  now 
about  2,400  children   in    the 
primary,  advanced,  and  high 
schools  under  his  charge  ;  he 
is  assisted  by  fifty  teachers,  so 
that  an  admirable  opportunity 
was  offered.    In  1874  (about 
fourteen  years  ago)  Mr.  Love 
began  his  experiment ;  gradu- 
ally he  introduced  one  occu- 
pation, and  then  another,  iLatil 
at  last  nearly  all  the  pupils  are 
following  some  form  of  educat- 
ing work. 

2.  WJiy  it  is  demanded.  The 
reasons  for  introducing  it  are 
clearly  stated  by  Mr.  Love.  It 
was  done  because  the  educa* 
tion  of  the  books  left  the  pu- 
pils unfitted  to  meet  the  prac- 
tical  problems  the  world  asks  them  to  solve.  The  world  does 
not  have  a  field  ready  for  the  student  in  book-lore.  The  state- 
ments of  Mr.  Love  should  be  carefully  read. 

8.  It  is  an  educational  book.  Any  one  can  give  some 
formal  work  to  girls  and  boys.  "What  has  been  needed  haa 
been  some  one  who  could  find  out  what  is  suited  to  the  little 
child  who  is  in  the  "  First  Reader,"  to  the  one  who  is  in  the 
"Second  Reader,"  and  so  on.  It  must  be  remembered  the 
effort  is  not  to  make  carpenters,  and  type-setters,  and  dress- 
makers of  boys  and  girls,  but  to  educate  them  by  these  occupa- 
tion* better  than  without  them. 


*LOVE« 


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E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO.    25 

^Payne's  Lectures  on   the  Science   and 

ART  OF  EDUCATION.  Reading  Circle  Edition.  By  JOSEPH 
PAYNE,  the  first  Professor  of  the  Science  and  Art  of  Edu- 
cation in  the  College  of  Preceptors,  London,  England. 
With  portrait.  16mo,  350pp.,  English  cloth,  with  gold 
back  stamp.  Price,  $1.00  ;  to  teachers,  80  cents  ;  by  mail, 
7  cents  extra.  Elegant  new  edition  from  new  plates. 

Teachers  who  are  seeking  to 
know  the  principles  of  education 
will  find  them  clearly  set  forth  in 
this  volume.  It  must  be  remem- 
bered that  principles  are  the  basis 
upon  which  all  methods  of  teach- 
ing must  be  founded.  So  valu- 
able is  this  book  that  if  a  teacher 
were  to  decide  to  own  but  three 
works  on  education,  this  would 
be  one  of  them.  This  edition 
contains  all  of  Mr.  Payne's  writ- 
ings that  are  in  any  other  Ameri- 
can abridged  edition,  and  is  the 
only  one  with  his  portrait.  It  is 
far  superior  to  any  other  edition 
published. 
JOSEPH  PAYNE. 

WHY  THIS  EDITION  IS  THE  BEST. 
(1.)  The  side-titles.  These  give  the  contents  of  ti  e  page. 
(2.)  The  analysis  of  each  lecture,  with  reference  to  the  educa- 
tional points  in  it.  (3.)  The  general  analysis  pointing  out  the 
three  great  principles  found  at  the  beginning.  (4.)  The  index, 
where,  under  such  heads  as  Teaching,  Education,  The  Child, 
the  important  utterances  of  Mr.  Payne  are  set  forth.  (5.) 
Its  handy  shape,  large  type,  fine  paper,  and  press-work  and 
tasteful  binding.  All  of  these  features  make  this  a  most  val- 
uable book.  To  obtain  all  these  features  in  one  edition,  it 
was  found  necessary  to  get  out  this  new  edition. 

Ohio  Educational  Monthly,— "It  does  not  deal  with  shadowy  uieories; 
It  is  intensely  practical." 

Philadelphia  Educational  News.—"  Ought  to  be  in  library  of  every 
progressive  teacher." 

Educational  Courant.— "  To  know  how  to  teach,  more  if  needed  than 
a  knowledge  of  the  branches  taught.  This  is  especially  valuable." 

Pennsylvania  Journal  of  Education.—"  Will  be  of  practical  value  tc 
Normal  Schools  and  Institute 


SEND    AT.t.  OXtbJZRS  TO 

SO     E.  L.  KELLOGG  &  CO.,  NEW  YORK  &  CHICAGO. 


Song  Treasures. 


THE  PRICE  HAS  JUST  BEEN 
GREATLY  REDUCED. 


Compiled  by  AMOS  M.  KELLOGG,  editor  of  the  SCHOOL  JOUR- 
NAL.    Elegant  green  and  gold  paper  cover,  64  pp.    Price, 
15  cents  each  ;  to  teachers,  12  cents  ;  by  mail,  2  cents 
extra.     10th  thousand.     Special  terms  to  schools  for  25 
copies  and  over. 
This   is 
most  valua- 
ble collec- 
tion of  mu- 
sic    for    all 
schools   and 
institutes. 

1.  Most  of 
the  pieces 
have  been  se- 
lected by  the 
teachers    as 
favorites    in 
the    schools. 
They  are  the 
ones  the  pu- 
pils love  to 
sing. 

2.  All  the  pieces  "  have  a  ring  to  them ;"  they  are  easily 
learned,  and  will  not  be  forgotten. 

3.  The  themes  and  words  are  appropriate  for  young  people. 
In  these  respects  the  work  will  be  found  to  possess  unusual 
merit.    Nature,  the  Flowers,  the  Seasons,  the  Kome,  our 
Duties,  our  Creator,  are  entuned  with  beautiful  music. 

4.  Great  ideas  may  find  an  entrance  into  the  mind  through 
music.    Aspirations  for  the  good,  the  beautiful,  and  the  true1 
are  presented  here  in  a  musical  form. 

5.  Many  of  the  words  have  been  written  especially  for  the 
book.    One  piece,  "  The  Voice  Within  Us,"  p.  57,  is  worth  the 
price  of  the  book. 

6.  The  titles  here  given  show  the  teacher  what  we  mean  : 
Ask  the  Children,  Beauty  Everywhere,  Be  in  Time,  Cheerfulness, 

(hnatmas  Bells,  Days  of  Summer  Glory,  The  Dearest  Spot,  Eveninjr 
flonpr,  (if  ntlo  Words,  Uotnpr  to  School,  Hold  up  the  IMeht  Hand,  I  Love 
the  Kerry,  Merry  Sunchlne,  Kind  Deeds,  Over  1n  the  Meadows,  Our 
Happy  School,  Scatter  the  Germs  of  the  Beautiful,  Time  to  Walk,  Ine 
Joliy  Worker*,  The  Teacher's  Life,  Tribute  to  Whlttiw,  etc.,  eto. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 
Renewed  books  are  subject  to  immediate  recall. 


RENEWALS  ONLY 


8 


REG  u  >~->    UUi 


10E 


Tel.    Nn 


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(H50 


YB  04995 


